Helen H. Moore's Blog, page 829

March 21, 2016

“We should not be immune or afraid of critics”: President Obama retains optimism as Raul Castro criticizes U.S. policy during historic Cuba meeting

After acknowledging the "serious differences" that exist between the United States and Cuba, President Obama declared a “new day” in U.S.-Cuban relations during a news conference with Cuban President Raúl Castro on Monday. The two leaders briefly answered questions from media on the first full day of Obama's historic visit, the first by sitting a U.S. head of state in nearly ninety years. The president arrived in Havana on Sunday with the first lady and their daughters. Monday's was the two leaders' third meeting, and although it was meant to serve as a sign of progress between the two nations, Obama and Castro ended up agreeing to disagree on many things. "The embargo's going to end," Obama proclaimed, referring to the 54-year economic freeze between the two nations, only 90 miles apart. "When, I can't be entirely sure," Obama added, arguing that "the reason is that what we did for 50 years did not serve our interests or the interests of the Cuban people." The Cuban dictator echoed Obama's sentiments, arguing that "much more could be done if the U.S. blockade were lifted." The embargo, however, seemed to be the only topic the two leaders could seamlessly agree on during the conference, with Obama insisting that relations "will not be transformed overnight." "The blockade stands as the most important obstacle to our economic development and the well-being of the Cuban people. That's why its removal will be of the essence," Castro added. 84-year-old Castro often appeared confused by the questions and process of the press conference, freely conceding that "there are profound differences between our countries that will not go away," calling the eventually lifting of the embargo "positive, but insufficient." Castro got most testy when pressed about his government's treatment of political dissidents. “What political prisoners? After this meeting is over, you can give me a list of political prisoners and If we have those political prisoners, they will be released before tonight ends,” Castro told CNN's Jim Acosta, the son of a Cuban defector. "It's not correct to ask me about political prisoners in general," Castro pushed-back to NBC's Andrea Mitchell after insisting he would only answer one question from the American media, growing even testier as he fidgeted with his headphones. Castro argued that it was wrong to "politicize human rights," warning that "if that is the purpose, then we will stay the same way." Castro argued against comparing nation's on human rights records generally, citing Cuba's record on other significant issues like universal healthcare and education as superior to other nations -- namely critiquing the U.S. for failing to ensure equal pay for equal work regardless of gender. For his part, standing besides Castro, Obama welcomed the critique and called for increased openness between the two nations. "As you heard, President Castro has also addressed what he views as shortcomings in the United States," he said, "and we welcome that constructive dialogue as well. Because we believe that when we share our deepest beliefs and ideas with an attitude of mutual respect, that we can both learn and make the lives of our people better." But like any significant world event, the deeply considered and impactful words will likely be overshadowed by this one incredible awkward image: https://twitter.com/moneyries/status/... acknowledging the "serious differences" that exist between the United States and Cuba, President Obama declared a “new day” in U.S.-Cuban relations during a news conference with Cuban President Raúl Castro on Monday. The two leaders briefly answered questions from media on the first full day of Obama's historic visit, the first by sitting a U.S. head of state in nearly ninety years. The president arrived in Havana on Sunday with the first lady and their daughters. Monday's was the two leaders' third meeting, and although it was meant to serve as a sign of progress between the two nations, Obama and Castro ended up agreeing to disagree on many things. "The embargo's going to end," Obama proclaimed, referring to the 54-year economic freeze between the two nations, only 90 miles apart. "When, I can't be entirely sure," Obama added, arguing that "the reason is that what we did for 50 years did not serve our interests or the interests of the Cuban people." The Cuban dictator echoed Obama's sentiments, arguing that "much more could be done if the U.S. blockade were lifted." The embargo, however, seemed to be the only topic the two leaders could seamlessly agree on during the conference, with Obama insisting that relations "will not be transformed overnight." "The blockade stands as the most important obstacle to our economic development and the well-being of the Cuban people. That's why its removal will be of the essence," Castro added. 84-year-old Castro often appeared confused by the questions and process of the press conference, freely conceding that "there are profound differences between our countries that will not go away," calling the eventually lifting of the embargo "positive, but insufficient." Castro got most testy when pressed about his government's treatment of political dissidents. “What political prisoners? After this meeting is over, you can give me a list of political prisoners and If we have those political prisoners, they will be released before tonight ends,” Castro told CNN's Jim Acosta, the son of a Cuban defector. "It's not correct to ask me about political prisoners in general," Castro pushed-back to NBC's Andrea Mitchell after insisting he would only answer one question from the American media, growing even testier as he fidgeted with his headphones. Castro argued that it was wrong to "politicize human rights," warning that "if that is the purpose, then we will stay the same way." Castro argued against comparing nation's on human rights records generally, citing Cuba's record on other significant issues like universal healthcare and education as superior to other nations -- namely critiquing the U.S. for failing to ensure equal pay for equal work regardless of gender. For his part, standing besides Castro, Obama welcomed the critique and called for increased openness between the two nations. "As you heard, President Castro has also addressed what he views as shortcomings in the United States," he said, "and we welcome that constructive dialogue as well. Because we believe that when we share our deepest beliefs and ideas with an attitude of mutual respect, that we can both learn and make the lives of our people better." But like any significant world event, the deeply considered and impactful words will likely be overshadowed by this one incredible awkward image: https://twitter.com/moneyries/status/... acknowledging the "serious differences" that exist between the United States and Cuba, President Obama declared a “new day” in U.S.-Cuban relations during a news conference with Cuban President Raúl Castro on Monday. The two leaders briefly answered questions from media on the first full day of Obama's historic visit, the first by sitting a U.S. head of state in nearly ninety years. The president arrived in Havana on Sunday with the first lady and their daughters. Monday's was the two leaders' third meeting, and although it was meant to serve as a sign of progress between the two nations, Obama and Castro ended up agreeing to disagree on many things. "The embargo's going to end," Obama proclaimed, referring to the 54-year economic freeze between the two nations, only 90 miles apart. "When, I can't be entirely sure," Obama added, arguing that "the reason is that what we did for 50 years did not serve our interests or the interests of the Cuban people." The Cuban dictator echoed Obama's sentiments, arguing that "much more could be done if the U.S. blockade were lifted." The embargo, however, seemed to be the only topic the two leaders could seamlessly agree on during the conference, with Obama insisting that relations "will not be transformed overnight." "The blockade stands as the most important obstacle to our economic development and the well-being of the Cuban people. That's why its removal will be of the essence," Castro added. 84-year-old Castro often appeared confused by the questions and process of the press conference, freely conceding that "there are profound differences between our countries that will not go away," calling the eventually lifting of the embargo "positive, but insufficient." Castro got most testy when pressed about his government's treatment of political dissidents. “What political prisoners? After this meeting is over, you can give me a list of political prisoners and If we have those political prisoners, they will be released before tonight ends,” Castro told CNN's Jim Acosta, the son of a Cuban defector. "It's not correct to ask me about political prisoners in general," Castro pushed-back to NBC's Andrea Mitchell after insisting he would only answer one question from the American media, growing even testier as he fidgeted with his headphones. Castro argued that it was wrong to "politicize human rights," warning that "if that is the purpose, then we will stay the same way." Castro argued against comparing nation's on human rights records generally, citing Cuba's record on other significant issues like universal healthcare and education as superior to other nations -- namely critiquing the U.S. for failing to ensure equal pay for equal work regardless of gender. For his part, standing besides Castro, Obama welcomed the critique and called for increased openness between the two nations. "As you heard, President Castro has also addressed what he views as shortcomings in the United States," he said, "and we welcome that constructive dialogue as well. Because we believe that when we share our deepest beliefs and ideas with an attitude of mutual respect, that we can both learn and make the lives of our people better." But like any significant world event, the deeply considered and impactful words will likely be overshadowed by this one incredible awkward image: https://twitter.com/moneyries/status/... acknowledging the "serious differences" that exist between the United States and Cuba, President Obama declared a “new day” in U.S.-Cuban relations during a news conference with Cuban President Raúl Castro on Monday. The two leaders briefly answered questions from media on the first full day of Obama's historic visit, the first by sitting a U.S. head of state in nearly ninety years. The president arrived in Havana on Sunday with the first lady and their daughters. Monday's was the two leaders' third meeting, and although it was meant to serve as a sign of progress between the two nations, Obama and Castro ended up agreeing to disagree on many things. "The embargo's going to end," Obama proclaimed, referring to the 54-year economic freeze between the two nations, only 90 miles apart. "When, I can't be entirely sure," Obama added, arguing that "the reason is that what we did for 50 years did not serve our interests or the interests of the Cuban people." The Cuban dictator echoed Obama's sentiments, arguing that "much more could be done if the U.S. blockade were lifted." The embargo, however, seemed to be the only topic the two leaders could seamlessly agree on during the conference, with Obama insisting that relations "will not be transformed overnight." "The blockade stands as the most important obstacle to our economic development and the well-being of the Cuban people. That's why its removal will be of the essence," Castro added. 84-year-old Castro often appeared confused by the questions and process of the press conference, freely conceding that "there are profound differences between our countries that will not go away," calling the eventually lifting of the embargo "positive, but insufficient." Castro got most testy when pressed about his government's treatment of political dissidents. “What political prisoners? After this meeting is over, you can give me a list of political prisoners and If we have those political prisoners, they will be released before tonight ends,” Castro told CNN's Jim Acosta, the son of a Cuban defector. "It's not correct to ask me about political prisoners in general," Castro pushed-back to NBC's Andrea Mitchell after insisting he would only answer one question from the American media, growing even testier as he fidgeted with his headphones. Castro argued that it was wrong to "politicize human rights," warning that "if that is the purpose, then we will stay the same way." Castro argued against comparing nation's on human rights records generally, citing Cuba's record on other significant issues like universal healthcare and education as superior to other nations -- namely critiquing the U.S. for failing to ensure equal pay for equal work regardless of gender. For his part, standing besides Castro, Obama welcomed the critique and called for increased openness between the two nations. "As you heard, President Castro has also addressed what he views as shortcomings in the United States," he said, "and we welcome that constructive dialogue as well. Because we believe that when we share our deepest beliefs and ideas with an attitude of mutual respect, that we can both learn and make the lives of our people better." But like any significant world event, the deeply considered and impactful words will likely be overshadowed by this one incredible awkward image: https://twitter.com/moneyries/status/...

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Published on March 21, 2016 13:39

March 20, 2016

I slept with the enemy: Here’s what an unlikely romance taught me about racism, Donald Trump, and our cultural obsession with male rebellion

I once loved a man who hung a huge Confederate flag on his living room wall. This was a strange turn of events for me, a woman who at various stages of life has been described as a commie pinko, a bleeding heart liberal and a vegan, un-American Femi-Nazi. And yet, I not only hooked up with this guy; I started a relationship with him and stayed with him for almost a decade. He was a punk dude I met in the grocery store, a wily intense artist. These days I’m thinking of him--and his flag—to try to figure out the people in the crowds cheering for Donald Trump.

The first time I walked into this guy’s living room, I got an eyeful of that huge, red, hateful symbol, and stood stock-still, eyes wide. I felt every muscle in my body tense. I felt nauseous and confused. I had been considering kissing this guy. He had made me laugh, and now I would unfortunately have to first hold an intimate teach-in for one and then set his living room on fire.

“Dude,” I said. “That is so fucked up that you have that hanging on the wall. That’s so racist.” I could feel my dream of a perfect alterna-boyfriend shattering, my crush withering inside me. In vivid detail, I prepared the arguments I’d used against racist white people throughout my life. I felt myself tensing for the battles I’d experienced at anti-Klan demonstrations in Boston and anti-Nazi demonstrations in Minneapolis and arguments with racist relatives around the holiday dinner table.  I’d always loved the underdog—whether it was a cause or a sweetheart—and that trait definitely delivered its share of adventures.

This guy, whom I’ll call Abe, looked at me with a mixture of horror and consternation. “I found it in a Dumpster,” he said. “I just thought—oh, badass. Like Dukes of Hazzard and the General Lee.”

That’s right. He had just turned 30, and he had absolutely no idea what the Confederate flag actually represented. For him it was an accessory, a decoration, not a symbol of hundreds of years of racial violence and brutality. This might seem hard to believe; it certainly was for me. But I also remembered a time back in my childhood when the General Lee was just a car with doors that didn’t open right. I stood there in his living room and thought about all the times I had needed someone else to stand in front of me with a scowl, to tell me something I thought was messed up—and then to decide to stay and talk with me about it. At the time, I felt like it was finally my turn. Now, when I look back on this unlikely romance, I feel something else unexpected; I feel like I have a window into the mind of the kind of man who makes up Donald Trump’s voting base.

Back before I met Abe, I was a bookish nerd in college, but also an anarchist and a labor activist. Even as I studied radical democratic theory in anarchist study groups, clutching my crumpled photocopies of articles by Paulo Freire and Saul Alinsky and Pierre Bourdieu, I thought hard about my family’s own background in Europe and in this country, where lack of education had consistently denied every person a chance to pursue a career or develop intellectual interests. The first women in my family to get college degrees were my aunts, who did so courtesy of the convent. My dad was the first man to get a degree, and my mom got her GED after immigrating to the U.S. I thought about what it meant to have descended from German miners on both sides of my family and from a butcher in rural Arkansas. Because my entire family was of German descent, it felt all the more urgent that I think about the appeal of fascism in all its forms.

Abe was like many of the members of my own family in that he worked with his hands and hadn’t been to college. His high school experience was not especially rigorous, either, and he was decidedly labeled a “bad kid," not “college material." He was raised in a conservative, religious, single-parent household at the edge of poverty. But from the first conversation I had with him, I could see that he was intelligent, quick-witted and introspective. I fell immediately in love with him, and I think part of why I did so was that I felt at home with him, with his rough story that somehow reflected the story of my own family.

When he told me that first day that he hung up the Confederate flag because it seemed “badass,” I swallowed my nausea and decided to see if he would change. The next time I came over, the flag was down. He said, with honest forthrightness, that he’d had no idea how offensive it was.

I believed him. He worked in a wood mill with immigrants from Somalia and Russia and interacted on a daily basis with a much more diverse cast of characters than I did in my safe, homogenous graduate school classrooms.

He’d thought about what I’d said, and he took down the flag. And then he thanked me for explaining everything without making him feel like shit.

Only, I kind of did make him feel like shit, at least in my book. I wanted to make sure he understood that this was important. In response, he could have told me to go to hell, but instead he thought about everything I told him.

Now, I’m not saying that every racist is an innocent who needs to be understood and humored. I believe—because I’ve seen it in my own family—that some racists are hardened and unteachable. I’ve had conversations where I was reduced to staring in open-mouthed horror as I realized that common ground was a fantasy, that the other person seemed to take delight in his or her extreme views. Abe was not that way; he honestly didn’t know enough about history. But from this place of not-knowing, he was looking for any symbols of rebellion he could find. He drove a loud muscle car, listened to punk and heavy metal at ear-shredding decibels, and wore a jean jacket vest covered with patches. At night we snuggled together to watch movies, he wanted to show me the world that he cared about, the men he’d chosen as cinematic replacement fathers: Dennis Hopper in "Easy Rider," Al Pacino in "Scarface," Clint Eastwood in everything. Guys who went out with guns blazing.

As a rebel myself, I think a lot about the few ways that working-class people have left to express their outrage. I came to my politics via anger at the status quo, but it was often hard to find spaces to let loose and express that anger. I’d lived in a vegan co-op where I had never felt pure enough with my dietary choices, and then I’d gone through several years where I could never reach my ideals as a responsible, engaged citizen. I didn’t go to all the meetings I felt I should have, I bought the grapes during the boycott, and I used the Amnesty International address labels without sending in a donation. Political virtue seemed like an endless list I could never complete. Maybe that was why it was so satisfying and necessary to find movements and moments, here and there, where I could metaphorically set things on fire: string angry sentences into a microphone, yell myself hoarse outside the house of a strike-breaking business owner, or get together with hundreds of other people to block a street and stop traffic. Those actions fit with my principals. Plus, stepping far outside the status quo delivered a jolt of raw adrenaline. I found those fellow loudmouths through what I’d learned around college campuses, and Abe hadn’t fallen into those circles of organized rebellion.

As schools have become mills of standardized testing, and as funding has been drained away from urban school systems as well as poorer suburban and rural schools, precious few encounter options for political activism in their K-12 education. Some working-class people—including many of my friends in various cities whom I’ve worked with in labor coalitions—come to develop left-leaning politics through union membership. If you’re not a union member, you might not know that unions put a lot of energy into political education and provide a great community in which to understand the world.

But unionization has dramatically declined or been restricted in places where Trump now has appeal, partly through limitations to organizing and through the relocation of manufacturing beyond U.S. borders. One side-effect, in addition to causing incomes of many middle-class people to tank, is that the education, historical awareness and class-consciousness-building that unions used to provide for people like Abe have now been filled by right-wing hate-mongering personalities like Trump. Add to that a history of repression of activist organizations—from the Red Scare to surveillance in the '60s—and arrive at the place we now find ourselves: a weird, nightmarish place where Donald Trump looks like Che Guevara. 

I often hear people wondering what is the matter with those who would choose someone like Donald Trump as their candidate, and why, as Tom Frank explains in his book, "What’s the Matter with Kansas?," the machine of the far right took over the populist language of the left. I don’t think there’s one answer, and I do think that some voters were swayed by political arguments about guns and abortion from well-funded and savvy right-wing organizations.

On the other hand, political scientist Richard M. Skinner pointed out that many voters don’t choose their candidates based on ideological positions but instead partially because they don’t have an ideological framework.

I’m going to take this one step further and argue that though they might not have a framework, they have a need to rebel and to see themselves as part of a compelling narrative, to cast themselves in some sort of heroic light. I’ve heard this so often from family members and friends who support Trump: “At least he’s shaking things up.”

After I heard this enough times, I started to think about Abe and his flag and his "Scarface" and his Clint Eastwood. Then I saw commentary written by Okla Elliott, a professor and author of "Bernie Sanders: The Essential Guide," who describes a conversation with an Uber cab driver and Trump supporter. Elliott booked a series of rides with this driver, and they got to talking about politics. As Elliott described Sanders’ positions bit by bit (calmly, without insulting the drivers’ intelligence), the driver was won over to Sanders’ position.

That would seem—by traditional political frameworks—to be impossible. But these conversations are relatively common today, and they happen because some voters are choosing Trump purely out of a need to rebel. That need is real, and it is something to cherish as much as it is to fear. Trump tells a story in which the white worker is a rebellious hero with a mission. Trump seems to give voice to that story, to flip the bird to the establishment—and that is more compelling to voters than any of his ridiculous, racist, dangerous or contradictory political standpoints. I know this from my own experience: The sense that something is wrong starts in the gut. Then you can get lucky and find people to talk to about that desire to rebel, but for the white working-class, finding the left-leaning alternative has become an obstacle course. And they are so often seen as a faceless mass: the racist, hopeless, backward, rural enemy.

Over our years together, Abe and I taught each other many things. I talked about race in this country, and he taught me about the ever-present appeal of the "outlaw" for working-class white males, the only remaining identity refuge after losing economic standing. He'd later shake his head at himself and wince that he ever had a Confederate flag on his wall. I'm glad I didn't dismiss him out of hand, because he was teachable, as was I.

Now, we all have a critical opportunity. While it might be satisfying to deride Trump supporters as idiots, racists and rubes, history shows we’d be better served by figuring out how to re-knit the country around the only fable we have left, the “outlaw” in all its incarnations, our version of the kokopeli trickster that refuses to be tamed. Trump’s appeal rests in his appearance of outlandish untameability, and the fact that left-wing rebellion has been erased from public consciousness. Rather than mocking anyone’s stupidity, we should understand the campaign of cultural impoverishment that has led to this frightening and critical moment—and we need to remind people there are outlaws and bad-asses on the left—from Howard Fast to Joe Hill to Mother Jones to Paul Robeson to the protesters of Occupy Wall Street and Black Lives Matter… and on and on and on.

I once loved a man who hung a huge Confederate flag on his living room wall. This was a strange turn of events for me, a woman who at various stages of life has been described as a commie pinko, a bleeding heart liberal and a vegan, un-American Femi-Nazi. And yet, I not only hooked up with this guy; I started a relationship with him and stayed with him for almost a decade. He was a punk dude I met in the grocery store, a wily intense artist. These days I’m thinking of him--and his flag—to try to figure out the people in the crowds cheering for Donald Trump.

The first time I walked into this guy’s living room, I got an eyeful of that huge, red, hateful symbol, and stood stock-still, eyes wide. I felt every muscle in my body tense. I felt nauseous and confused. I had been considering kissing this guy. He had made me laugh, and now I would unfortunately have to first hold an intimate teach-in for one and then set his living room on fire.

“Dude,” I said. “That is so fucked up that you have that hanging on the wall. That’s so racist.” I could feel my dream of a perfect alterna-boyfriend shattering, my crush withering inside me. In vivid detail, I prepared the arguments I’d used against racist white people throughout my life. I felt myself tensing for the battles I’d experienced at anti-Klan demonstrations in Boston and anti-Nazi demonstrations in Minneapolis and arguments with racist relatives around the holiday dinner table.  I’d always loved the underdog—whether it was a cause or a sweetheart—and that trait definitely delivered its share of adventures.

This guy, whom I’ll call Abe, looked at me with a mixture of horror and consternation. “I found it in a Dumpster,” he said. “I just thought—oh, badass. Like Dukes of Hazzard and the General Lee.”

That’s right. He had just turned 30, and he had absolutely no idea what the Confederate flag actually represented. For him it was an accessory, a decoration, not a symbol of hundreds of years of racial violence and brutality. This might seem hard to believe; it certainly was for me. But I also remembered a time back in my childhood when the General Lee was just a car with doors that didn’t open right. I stood there in his living room and thought about all the times I had needed someone else to stand in front of me with a scowl, to tell me something I thought was messed up—and then to decide to stay and talk with me about it. At the time, I felt like it was finally my turn. Now, when I look back on this unlikely romance, I feel something else unexpected; I feel like I have a window into the mind of the kind of man who makes up Donald Trump’s voting base.

Back before I met Abe, I was a bookish nerd in college, but also an anarchist and a labor activist. Even as I studied radical democratic theory in anarchist study groups, clutching my crumpled photocopies of articles by Paulo Freire and Saul Alinsky and Pierre Bourdieu, I thought hard about my family’s own background in Europe and in this country, where lack of education had consistently denied every person a chance to pursue a career or develop intellectual interests. The first women in my family to get college degrees were my aunts, who did so courtesy of the convent. My dad was the first man to get a degree, and my mom got her GED after immigrating to the U.S. I thought about what it meant to have descended from German miners on both sides of my family and from a butcher in rural Arkansas. Because my entire family was of German descent, it felt all the more urgent that I think about the appeal of fascism in all its forms.

Abe was like many of the members of my own family in that he worked with his hands and hadn’t been to college. His high school experience was not especially rigorous, either, and he was decidedly labeled a “bad kid," not “college material." He was raised in a conservative, religious, single-parent household at the edge of poverty. But from the first conversation I had with him, I could see that he was intelligent, quick-witted and introspective. I fell immediately in love with him, and I think part of why I did so was that I felt at home with him, with his rough story that somehow reflected the story of my own family.

When he told me that first day that he hung up the Confederate flag because it seemed “badass,” I swallowed my nausea and decided to see if he would change. The next time I came over, the flag was down. He said, with honest forthrightness, that he’d had no idea how offensive it was.

I believed him. He worked in a wood mill with immigrants from Somalia and Russia and interacted on a daily basis with a much more diverse cast of characters than I did in my safe, homogenous graduate school classrooms.

He’d thought about what I’d said, and he took down the flag. And then he thanked me for explaining everything without making him feel like shit.

Only, I kind of did make him feel like shit, at least in my book. I wanted to make sure he understood that this was important. In response, he could have told me to go to hell, but instead he thought about everything I told him.

Now, I’m not saying that every racist is an innocent who needs to be understood and humored. I believe—because I’ve seen it in my own family—that some racists are hardened and unteachable. I’ve had conversations where I was reduced to staring in open-mouthed horror as I realized that common ground was a fantasy, that the other person seemed to take delight in his or her extreme views. Abe was not that way; he honestly didn’t know enough about history. But from this place of not-knowing, he was looking for any symbols of rebellion he could find. He drove a loud muscle car, listened to punk and heavy metal at ear-shredding decibels, and wore a jean jacket vest covered with patches. At night we snuggled together to watch movies, he wanted to show me the world that he cared about, the men he’d chosen as cinematic replacement fathers: Dennis Hopper in "Easy Rider," Al Pacino in "Scarface," Clint Eastwood in everything. Guys who went out with guns blazing.

As a rebel myself, I think a lot about the few ways that working-class people have left to express their outrage. I came to my politics via anger at the status quo, but it was often hard to find spaces to let loose and express that anger. I’d lived in a vegan co-op where I had never felt pure enough with my dietary choices, and then I’d gone through several years where I could never reach my ideals as a responsible, engaged citizen. I didn’t go to all the meetings I felt I should have, I bought the grapes during the boycott, and I used the Amnesty International address labels without sending in a donation. Political virtue seemed like an endless list I could never complete. Maybe that was why it was so satisfying and necessary to find movements and moments, here and there, where I could metaphorically set things on fire: string angry sentences into a microphone, yell myself hoarse outside the house of a strike-breaking business owner, or get together with hundreds of other people to block a street and stop traffic. Those actions fit with my principals. Plus, stepping far outside the status quo delivered a jolt of raw adrenaline. I found those fellow loudmouths through what I’d learned around college campuses, and Abe hadn’t fallen into those circles of organized rebellion.

As schools have become mills of standardized testing, and as funding has been drained away from urban school systems as well as poorer suburban and rural schools, precious few encounter options for political activism in their K-12 education. Some working-class people—including many of my friends in various cities whom I’ve worked with in labor coalitions—come to develop left-leaning politics through union membership. If you’re not a union member, you might not know that unions put a lot of energy into political education and provide a great community in which to understand the world.

But unionization has dramatically declined or been restricted in places where Trump now has appeal, partly through limitations to organizing and through the relocation of manufacturing beyond U.S. borders. One side-effect, in addition to causing incomes of many middle-class people to tank, is that the education, historical awareness and class-consciousness-building that unions used to provide for people like Abe have now been filled by right-wing hate-mongering personalities like Trump. Add to that a history of repression of activist organizations—from the Red Scare to surveillance in the '60s—and arrive at the place we now find ourselves: a weird, nightmarish place where Donald Trump looks like Che Guevara. 

I often hear people wondering what is the matter with those who would choose someone like Donald Trump as their candidate, and why, as Tom Frank explains in his book, "What’s the Matter with Kansas?," the machine of the far right took over the populist language of the left. I don’t think there’s one answer, and I do think that some voters were swayed by political arguments about guns and abortion from well-funded and savvy right-wing organizations.

On the other hand, political scientist Richard M. Skinner pointed out that many voters don’t choose their candidates based on ideological positions but instead partially because they don’t have an ideological framework.

I’m going to take this one step further and argue that though they might not have a framework, they have a need to rebel and to see themselves as part of a compelling narrative, to cast themselves in some sort of heroic light. I’ve heard this so often from family members and friends who support Trump: “At least he’s shaking things up.”

After I heard this enough times, I started to think about Abe and his flag and his "Scarface" and his Clint Eastwood. Then I saw commentary written by Okla Elliott, a professor and author of "Bernie Sanders: The Essential Guide," who describes a conversation with an Uber cab driver and Trump supporter. Elliott booked a series of rides with this driver, and they got to talking about politics. As Elliott described Sanders’ positions bit by bit (calmly, without insulting the drivers’ intelligence), the driver was won over to Sanders’ position.

That would seem—by traditional political frameworks—to be impossible. But these conversations are relatively common today, and they happen because some voters are choosing Trump purely out of a need to rebel. That need is real, and it is something to cherish as much as it is to fear. Trump tells a story in which the white worker is a rebellious hero with a mission. Trump seems to give voice to that story, to flip the bird to the establishment—and that is more compelling to voters than any of his ridiculous, racist, dangerous or contradictory political standpoints. I know this from my own experience: The sense that something is wrong starts in the gut. Then you can get lucky and find people to talk to about that desire to rebel, but for the white working-class, finding the left-leaning alternative has become an obstacle course. And they are so often seen as a faceless mass: the racist, hopeless, backward, rural enemy.

Over our years together, Abe and I taught each other many things. I talked about race in this country, and he taught me about the ever-present appeal of the "outlaw" for working-class white males, the only remaining identity refuge after losing economic standing. He'd later shake his head at himself and wince that he ever had a Confederate flag on his wall. I'm glad I didn't dismiss him out of hand, because he was teachable, as was I.

Now, we all have a critical opportunity. While it might be satisfying to deride Trump supporters as idiots, racists and rubes, history shows we’d be better served by figuring out how to re-knit the country around the only fable we have left, the “outlaw” in all its incarnations, our version of the kokopeli trickster that refuses to be tamed. Trump’s appeal rests in his appearance of outlandish untameability, and the fact that left-wing rebellion has been erased from public consciousness. Rather than mocking anyone’s stupidity, we should understand the campaign of cultural impoverishment that has led to this frightening and critical moment—and we need to remind people there are outlaws and bad-asses on the left—from Howard Fast to Joe Hill to Mother Jones to Paul Robeson to the protesters of Occupy Wall Street and Black Lives Matter… and on and on and on.

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Published on March 20, 2016 16:00

Trump’s jackbooted thugs against political correctness: Violence, fascism and the real assault on free speech

America is having two kinds of conversations about political correctness, one of which Donald Trump’s violent campaign rallies bring more clearly into view.  One kind of conversation is a well-meaning attempt to think about the limits of civility and of free speech.  The other, which I’ve warned about, is an attempt to use “political correctness” as an epithet against those who oppose bigotry and violence.  Donald Trump’s escalating rhetoric of violence—his vocal support for beating and roughly handling protesters at his campaign rallies—is telling, not just because of its brazenness, but because it’s so often accompanied by invocations of what’s “politically correct.” Consider, for example, what Trump has said recently at his rallies about roughing up protesters and outsiders: “In the good old days, they’d rip him out of that seat so fast, but today everybody’s politically correct”; or “We had four guys, they jumped at him, they were swingin’ and swingin, the next day we got killed in the press, and we were too rough…give me a break…we don’t wanna be too politically correct anymore, right folks?” To be clear, when Trump invokes political correctness in these moments, he’s obliterating the meaning of political correctness that even its most strident opponents have given it.  The reason political correctness is so damaging, according to its opponents, is it’s an attempt to regulate words in the absence of physical harm.  For the conventional anti-p.c. crowd, it’s a sticks-and-stones argument: Those who favor political correctness lack toughness because, in asking for “safe spaces” or speech codes, they’re asking for protection from words, not actual assault. Trump, on the other hand, is using “political correctness” as a scapegoat for adverse reactions to his encouragement of violence.  In simple terms, for Trump, “political correctness” means “we’re not allowed to beat up protesters anymore.”  To be “too politically correct,” then, is to think that someone exercising their First Amendment rights at a political rally should be able to do so without being physically assaulted.  By that standard, millions of reasonable Americans who favor the right to protest without getting sucker punched just became “politically correct.” I’ve claimed for a while now that free-speech concerns about political correctness have been unfortunately entangled in larger and darker culture war battles, to the extent that opposition to political correctness quite often says a lot more than “I’m concerned about free speech.”  By making it clear that political correctness is, as he sees it, not just a barrier to offensive speech, but to violent actions, Trump has brought this point all the way home.   At the Trump rally, political correctness becomes the force that would support the speech rights of protesters and the dissenting minority at Trump rallies, and opposition to political correctness becomes the hard shove and the swinging fist. The man who took a swing at an unsuspecting protester being escorted out of a Trump rally in Fayetteville, North Carolina, claimed he enjoyed hitting the protester because the protester was “not acting like an American,” suggesting further “the next time we see him, we might have to kill him.”  In this new anti-p.c. scenario, speaking in protest safely is “politically correct,” and “acting like an American” means punching and threatening to kill people who disagree with you. The traditional understanding of political correctness as a gesture of politeness or consideration gives way to the opposing extreme, not just a lack of respect but a prerogative to physically attack. What Trump is really talking about when invoking political correctness, then, is the presumption of a right to violence, not to speech.  If in the “good old days” it was ever acceptable to push and shove a silent, sign-holding protester off the premises at a political rally, or to forcibly remove a disruptive protester not by professional security escort but by vigilante beating and intimidation, that’s what Trump is asking us to excuse today. This, of course, has nothing to do with political correctness as it’s properly understood. Trump is just using “political correctness” as a signal to his supporters that there’s a sickness out there threatening to soften up America, and the antidote is demonstrations of brute violence. What Trump needs to learn—yes, the same Trump who’s afraid to face Megyn Kelly, is touchy about his hair, and insecure about his finger size—is that standing at a lectern and asking your supporters to throw your punches for you is actually not a demonstration of toughness. And violence at political rallies is not going to make America tougher.   What’s actually tough—and courageous—is having enough political conviction to walk into a notoriously violent Trump rally in protest as a Mexican-American, an African-American or a Muslim. Representing those minority groups in the hostile environment of the Trump rally means doing so without “cover” of political correctness. If anything, the benefits of political correctness that opponents fear most—that it might provide undue cover for people or ideas deserving to be challenged, and turn us all soft—redound to Trump at his own rallies. From the podium and above the crowd, he can’t handle dissenting views, he can’t handle the mere presence of those who disagree with him, and he’s content to let a cushion of angry supporters placed between himself and his adversaries “sort out” their differences by sheer coercion (in his case, physical coercion and violence).   In other words, if the “cultural libertarian” metaphor of authoritarianism might once have worked to describe how, with political correctness, linguistic and ideological consensus could be coercive, Trump has decimated that metaphor by turning it literal. You can’t legitimately complain about the “cultural” authoritarianism of political correctness if in the same breath you’re trying to promote ideological conformity at your rally by means of jackbooted thuggery.

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Published on March 20, 2016 15:59

“Music is so abused these days”: XTC’s Andy Partridge opens up about songwriting, painting and developing the “cruel parent gene” toward your own art

From the late '70s and on through the '80s and '90s, Swindon, U.K., pop chameleons XTC produced album after album brimming with indelible pop music. Although the band's early work was very much of the time—albums such as 1979's "Drums & Wires" and 1980's "Black Sea" had new wave's nervy energy, as well as post-punk's forward-glancing approach and playbook-ripping attitude—the band never chased trends: Later LPs such as 1986's beloved "Skylarking" and 1989's psych-pop opus "Oranges & Lemons" incorporated intricate production and arrangements along with lush orchestration. And although XTC might be best-known in the U.S. for the song "Dear God" and the No. 1 Modern Rock hit "The Ballad of Peter Pumpkinhead," the band's entire catalog is scattered with gems: Vocalist Andy Partridge and bassist Colin Moulding traded off crafting tunes that flouted conventions but always embraced a sticky hook or melodic quirk with open arms. A new book, "Complicated Game: Inside the Songs of XTC" (due March 22 from Jawbone Press), finds Partridge and old pal Todd Bernhardt having in-depth conversations about how 30 songs from the band's extensive catalog came together. (These conversations, which focus on the songs Partridge himself wrote, originated as Myspace blogs, although many have been augmented by newer interviews.) More often than not, the chats feature plenty of witty repartee—Partridge's love of wordplay is well-documented, after all, both in lyrics and previous interviews—and also delve into XTC's intra-group dynamics, as well as band history, studio memories and Partridge's recollections of growing up (and continuing to live) in the small town of Swindon. But "Complicated Game" stands apart from other musical deep dives because it's a rigorous and intriguing look at the creative process itself: If anything, it features plenty of advice on how to coax art into being, and explains how and why XTC's music coalesced like it did—from Partridge's initial inspirations on through the actual tweaking and perfecting of the lyrics, melodies and structure. "Let me pull up a big pile of raw liver here and sit down," Partridge says after Salon reaches him at home, where he was immersed in hand-painting one of the postcard-size dust jackets covering a sold-out, limited-edition version of "Complicated Game." On this particular day, he's working on a piece inspired by the song "Train Running Low on Soul Coal" that he says features his face depicted as "a bending, impending steam train crashing into the wall. And the little Thomas the Tank Engine face on the front is me kind of going, 'Oh my God!' as if my head's going to smash into the wall." Partridge has a long-standing affection (and aptitude) for art: For example, he dreamed up and designed XTC's elaborate LP and single sleeves, and has long been a champion of vinyl's artistic qualities. ("Gatefolds, wow—that’s the IMAX of sleeves," he says at one point.) As far as this round of painting goes, he says, "I'm kind of enjoying it. It's a different discipline. I thought at one time my career was going to be as an artist, a visual artist. And then at some point I must’ve seen 'A Hard Day's Night' and 'Help!' and then 'The Monkees' series on the TV, and thought, 'Hey, wait a minute. More girls seem to be attracted to guitars than pencils.' So that was the way. Guitar equals better girl fishing rod than paintbrush or pencil." Besides discussing his current art hot streak, Partridge chatted about his recent musical endeavors—including writing a song for the upcoming Monkees album and prepping the next release in a series of high-fidelity, surround-sound XTC album reissues, which are remixed by Porcupine Tree's Steven Wilson—and the premise and distinctive nature of "Complicated Game." There were 83 interviews completed from which to choose for "Complicated Game." How did you guys whittle down these to what made the final cut? Actually, I wasn’t particularly part of that choice. I think this was more Todd [Bernhardt] and Jawbone [Press], the people who put the book together. Personally, I wanted them all to come out. My actual concept was that it be printed on that really thin Bible paper, onionskin paper or something. Do you know what I mean? And I said, “Well, why can’t you print them all?” They said, “No, we can’t print them all, because the book will be too thick.” And I said, “Well, print them all on that kind of Bible paper, and then there you go. You won’t have a thick book.” But no, that met some resistance. We have, what is it, 30-something songs here? And if it sells well, they told me they’ll do another volume with some more interviews. As you were doing those interviews, what sort of insights did you glean about yourself, both as a person and as a musician? As I was doing the interviews—you know, you’re pulling stuff out of your memory. I had to refresh my memory by listening to our music, and I don’t particularly listen to my music. Does a dog return to its vomit? Maybe. But I’m not the sort of person that sits here naked in a bath of Jell-O listening to his own music particularly. I find I can only do that if I get really, really drunk, which I tend not to do much these days. If I get really drunk, I’ve forgot I’ve even made the music, and I’ll lay on the floor with headphones and say, “Hey this is great, who’s this?" And then pass out. But I had to listen to it to remind myself of what it was all about, and I found myself thinking generally, “Hey, you know, this is pretty good.” But that’s not what you think when you’re in the eye of the hurricane. You need the years of perspective and hindsight… Yeah, and in my case you need a couple of bottles of wine as well. You and Todd had a really good rapport, which helps. He knows your catalog inside and out. And we were friends before he came up with the suggestion of doing these interviews, so it was just a continuation of two friends talking on the phone. That makes sense, because that’s very much how it came off. Which was nice, because sometimes you read books about songwriting, and it's dry. It's like reading a manual to put something together. A lot of the books about songwriting, it’s not from the creator, it’s somebody’s take on it. And it ain’t genuine guts, unless it’s the songwriter’s guts coming out and saying, “Well, it’s about this, and the reason it’s like that is because of this, and da da da da.” That’s the kind of stuff I like. If I read a book about a songwriter, I want their guts on the table. I don’t want pretense, or [affects sneering, taunting voice] “No, I’m not gonna tell you.” I don’t want that sort of “shucks” kind of thing, I want guts. It’s a tease then. You feel betrayed—you came in for one thing, and then you're like, "Wait a second. I didn't learn anything." Yeah, I came in for a Chinese meal, and what? You want to get me to eat an old Greek kebab here with 10-day old meat in it? "Complicated Game" was really also like a manual on creativity. I liked that you talked about to being precious about your own work, which is something as a writer I'm always keeping in mind. You can’t be precious about your own work. You have to abandon it. You have to develop the cruel parent gene. You have to kick it out into the snow and say “get.” And point. Your little creation then hobbles off into the world, and hopefully makes something of themselves. But you have to develop that. You can mess with something to a certain extent, and then say, "Well, you know what? Cruel parent's going to have to kick in here." And then you gotta throw it out, just get rid of it. Because if you don’t throw it out, you’ll never be able to move on and make new things. You need to clear your head. The attic will be full of junk, and it will weigh down and bust and crush the rest of the house below. I like to try and periodically get rid of everything, if I can. And you recently asked on Twitter whether you should do another "Fuzzy Warbles" [demos, unreleased songs and rarities] release. So how much do you have laying around? Oh, sheesh. I don’t know, I've got loads of stuff. Mostly stuff that I’ve written for other people, because I thought, “Well okay, XTC is over now, I guess I can write songs, I'll go on and do this for other people." And I tried doing it for other people, and either [it's] the world of the needy popstar or whatever, when they need songs from you, there's a whole different ego minefield you have to [navigate]. I don’t particularly have an ego minefield when I’m writing my own material—I just write it and there it is. But if I’m writing for someone else, you got to think, “Are they going to sing these words? No, they’re not. They’re known for singing a lot straighter words." Or "No, they’re not going to use those Martian chords, I better get rid of those and just put E, A and B in there. or else they’re going to fight it." I find writing for other people pretty difficult, because you can’t be yourself. You have to pretend to be something else on tap for them. And then you can bust your guts and write somebody 10 songs and they’ll say, “Ehhh, well, you know, I don’t think I like any of them.” Or you can bust your gut, write somebody 10 songs, and they won’t get the record deal. Or you can bust your gut and write somebody 10 songs, and they’ll do one of them. So there you go: In 3 jobs there, you’ve got 30 songs, and one of them's been recorded. But I hear other songwriters saying that when they’re writing for others, it’s one in 10, if you’re lucky. That’s a terrible batting average. It’s awful! But unless they’re going to learn to write their own material, they’ll have to come to someone who can write and say, “Can you help me out?” or whatever the case is. But I find myself with lots of demos of songs written for others that for whatever reason they didn’t get to do. And I’m thinking, “You know what, some of these songs are pretty damn good. Maybe I should do something with them," rather than them just rotting in a computer or on a DAT machine or wherever they’re living. Would we have heard of some of the people you’ve written for? Are these big artists? New artists? In the last few months, for example, I’ve written with somebody who had a deal with Jack White’s label, and his name is Willy Moon. He’s a New Zealander that lives in New York, and he came here and we wrote three or four numbers with him in the room, as it were. They were written with him in the room trying to get exactly the kind of vibe he wants. So let’s see whether anything will happen with them. A couple of weeks before that, I was asked, "Did I have any material—or could I write some material—for Blondie?" So I wrote two songs specifically, and I got my daughter [Holly] to sing them, she’s got a really good voice. She was sort of doing a little bit of a Debbie Harry impression for me. But I didn’t hear anything back from the management, I didn’t hear back from [affects exaggerated "Noo Yawk" accent] Tommy. So I guess [affects accent again] Tommy didn’t like them. So do you know anyone that wants to do a couple of ersatz Blondie numbers? Man, there’s a lot of bands influenced by Blondie these days. And I was contacted on Twitter by the man who manages the Monkees, Andrew Sandoval. The Monkees are going to make one more album, one last hurrah, and they want to do it in the style of '66, '67 Monkees. [Sandoval] knew I was a fan of the Monkees as a kid, and said would I write something for them? I thought fantastic, so I wrote them a bunch of things, wrote them a few new ones, and sent a couple that I thought they might like. And their first single is going to be one of those songs. It's "You Bring The Summer," right? Yeah. So I was channeling my inner Neil Diamond there.  Which is easier to do, really, than my inner Carole King. It’s all about Twitter. Twitter brings people together. Well, yeah, kind of. People always say, “Follow me, follow me on Twitter.” “Let’s hook up, let me direct message you.” No, I’m not interested in that. I only do Twitter because it was started by Todd for me, Todd Bernhardt. He said, “Look there’s so many people who would like to hear things from you, can I start a Twitter site? I'll call it @xtcfans.” Then I was just emailing him stuff to put up on Twitter in my name. After a little while, I thought, “No, this is stupid, why don’t I just put it up myself?” So @xtcfans—although I don’t like that name—is actually me. I sort of took it over, because I thought it was weird that there was another person in the way. It's amazing how many artists do have someone else tweeting for them under their name. I've always thought that was sort of disingenuous. Yeah it’s a little bit odd, and I didn’t like it. So I thought, "No, I got to take it over. Even though I’m not happy with the name @xtcfans, I’ll take it over." It really is me gibbering like an idiot on there. But there are also fan sites where they just sort of talk about you, I guess. Creatively, when you are painting, do you have a different mindset as opposed to when you are sitting down to write songs? Totally. I’ve been doing so much music in the last six months—writing, recording, demoing, blah blah, all that process—and now I’ve gone and made a rod for my own back by saying I’m going to hand-paint 50 dust jackets for a special hardback edition of this book. Which sold out in less than three hours. So now I’ve got my Picasso brain on, and I’m sat here giving myself repetitive strain injury painting 50 different pictures. I’m actually going for song titles, I'm just picking a song title that gives me a nice, strong pictorial image, and I’m trying to get that image down onto a postcard-sized, water-based painting. As you are making these individual paintings, are you actually listening to the particular song that inspired them? No, because I’d still have that defensive head on. I just find that I feel a bit icky listening to my own music. It’s like staring in the mirror all the time: All you see is all the faults. You don’t look in the mirror and go, “Wow, that is so beautiful! I think I could do that all day, just stare at myself.” No, you look in the mirror and go “Jesus, that spot’s got bigger" or “Wow, look at that sag. Where did that saggy eye thing come from?” or “There goes your hairline, going back further.” So I don’t do that. I don’t listen to any music I’m involved in very much, because I don’t need to. It’s kind of done, and it’s out there. I’m actually listening to all sorts of stuff. I got sent some King Crimson, old King Crimson recordings. I never really listened to much King Crimson, and I’m trying a bit of King Crimson out today. Yesterday, I was playing a lot of Miles Davis, the day before—what was I playing the day before? A little bit of Iggy Pop and some William Walton. Very nice—his façade, I really like that. It’s whatever mood I’m in. But I don’t usually play much music in the house, this is unusual. I tend to live in silence. As a writer, I work at home. And I find myself not listening to music–it's almost like it's distracting. And I love music. I love music. And I’ve figured out what it is: I think to play music all day long—or hear music all day long—is like being forced to work on one of those perfume counters in a department store. You know, your nose is getting beaten up all day by really strong, distinct smells, and I think after a few days of that, I’d run screaming from the store just to get fresh air. Auggh, get me normality! Give me no stink. Because music's like that: It's pungent, it’s strong, it envelops the senses, it triggers pictures off in my head. It’s very emotional and evocative, and it’s so strong and so pungent, I have to be totally in the mood to hear a little music. I mean, after four days of painting, listening to music, I’ve now got to the point of thinking to do them all in silence, because I’m getting that perfume counter sales-lady effect. I hear that. And sometimes there are some albums that either I'm looking forward to, or albums I love, and it's almost like you want to save it. It's like saving it for chocolate cake at the end of dinner. You're anticipating it so much, you almost don't want to play it, because it's so beautiful or means so much to you. Sure, you get that too. I just find that it’s like too much of anything. Because music is so abused these days. You hear it in every shop you go in; you hear it in every taxi; you hear it in every pub; you hear it coming out of every car door, every car window that passes you in the street. It’s in everybody’s house; it’s on every phone while you’re waiting to complain somewhere. It's been demeaningly pulled down, whereas it used to be so much more magical and sensory. Now it’s kind of oral, dirty wallpaper. Do you have anything else in the pipeline? Am I working on anything else? Well, I am working on getting together all the stuff for the next 5.1 [surround sound XTC] release, which when Steven Wilson finishes his tour in a couple of weeks' time, will be making more inroads into that. I’m not going to tell you which title it is yet, but it’s going to sound great. He’s doing his usual excellent job of making it sound just like the original, and then better. That’s the criteria. It’s got to sound like the original, but it’s got to sound better. I’m looking around for archived stuff, demos, any other performances to make this forthcoming package a good one. There’s some vinyl releases coming up, so that’s good. What can I tell you that I'm doing? Right now, I’m sort of in painting land, really. I facetiously thought, “Yeah I can knock up five of these a day, easy.” I’m struggling to do one a day, because I’m putting more into it than I considered I would. I want to make them really beautiful and detailed and fine. Just the detail you can see on the digital picture of "2 Rainbeau Melt" is impressive. It’s a bit of a fuzzy photo, I just snapped it. But that’s not bad, because that’s only the size of a postcard. I got 50 of these to do, and my eyesight's fucked enough as it is. [Laughs.] When people read "Complicated Game," what do you want them to take away from it? I personally love it. If I’m interested in an artist—and it doesn't matter what sort of art they’re doing, whether they’re an author, a filmmaker, a sculptor, a musician, whatever the media—I want to know how they did it. I want to know how the Beatles made that particular recording. I want to know how Miró painted that picture and why the choice of those symbols and what paints he used, and how it happened. If I like a magician, I don’t just look at the trick and say, “Well, that’s good, that’s magic.” No, for me, the real magic is finding out how they did it. Finding out what the process is, what the rocket fuel behind it is that made the explosion that made that picture. To me, that’s the magic, as much or more than the artwork I liked in the first place. It was the artwork that pulls me in—now you gotta show me how this was all done. So if they get an essence of that out of these interviews—if they come to a little bit more light on how it happened, how it worked, why it worked—then that’s the sort of thing that delights me. People have actually said to me, “You don’t want to talk so much. You’re spoiling it.” This is just the wee tip of the iceberg. There’s so much more to know. I have actually thought of doing an exhaustive thing about the lyrics. The better lyrics I’m really proud of. The early lyrics, I’m not so proud of, but I was learning my craft. But the later, better lyrics I’m very, very proud of. Talk about pulling guts about—[I've] really thought about pulling every line and every phrase, and telling people where I took that from, what it means, what this means to me, what the choice of that word—it could’ve been this word, but I chose that word because it does a certain thing, and explain what that thing is. I don’t know how thick that book would be. If there was a little fuss about putting 30 interviews in a book, god, if I did an exhaustive thing on all the lyrics, it’d be a box set. A small library. You could almost do it album by album. That would be an interesting way to frame it. That’s an idea, actually. Although the early ones, it would be less interesting, because I was learning my craft in public. The early songs have more energy and spunk than they do have solidity. They’re not so solid, and not so well-built.

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Published on March 20, 2016 15:00

Miseries of a stay-at-home dad

Narratively I bounce Henry on my shoulder at two o’clock in the morning. He moans and raises his head to survey the dark living room. He stares over my shoulder, eyes wide open, examining the shadows. Breast milk soaks my t-shirt, along with drool created by tiny, jagged teeth piercing his gums. I push his head back down with my palm, but he resists and releases a defiant scream. I bounce. I bargain with myself. I would donate a kidney for a full night’s rest. I would empty my checking account for a nap. I would never eat again at Five Guys Burgers for a few moments to shut my eyes. More Narratively: "My Runaway Childhood" Outside, the red line train hums at its stop near our fifth-floor apartment. My foggy brain registers the conductor’s muffled voice echoing from the speaker. Chicago stills during the early morning hours, but our living room remains active; a street light glimmers between the blinds. I bounce. Henry’s hot breath rushes from his lungs. The train departs, humming northbound into the night. More from Narratively: "The Night My Parents Had me Kidnapped" I lower us to a multicolored-foam play mat and lie flat on my back. Henry leans on my chest like a professional wrestler pinning his opponent. I close my eyes. The toilet flushes in the apartment next door, my neighbor ridding herself of another cigarette butt. While Henry listens to the rushing water, I consider my options: toss him out the window or ask my wife for help. However, neither of these options are included in the deal. I am on the clock, so I must remain conscious, battling an opponent with a delicious scalp and wonderfully chubby legs. Wandering through my hazy mind, I attempt to remember why I signed up for this job. More from Narratively: "I Can't Die Before My Son" While staring at the ceiling, my mind focuses on choices made after Henry’s birth. I embraced visions of myself as a hip, progressive father — a modern dad unburdened by rigid, traditional views of fatherhood, a man not forced to divide the roles of provider and protector from nurturer and caregiver. At the end of spring, I resigned from a soul-sucking job to care for Henry, four months old, while Cara returned to work at a non-profit in the heart of the city. We desired to leave behind suburban life and a lengthy commute, well suited for many families, but stressful and impossible in our particular situation. We moved into a one-bedroom apartment on the north side of Chicago, near Lake Michigan, a promising place to stroll along the shore. * * * On a balmy summer morning, a week later, I walk the streets of Chicago carrying Henry in a long, green band of cloth wrapped around my torso. He flails his arms and kicks his legs against my waist, studying passersby. We absorb the light reflecting off Lake Michigan’s choppy surface while walking Jolene, our thirty-pound sheltie mix. “Did you tie the wrap?” women ask. “Yes, I watched the YouTube instructional video a thousand times,” I respond. The soft wrap becomes a projection screen on which others display their parenting views. Women offer warm smiles, sometimes clapping. Men stare, dressed in their sleek suits, with furrowed brows. A teenage boy, arms hooked with his girlfriend, whispers loud enough for me to overhear, “Now, that’s the image of a man.” Another scruffy, bearded man in his twenties, standing on a busy street corner, points and roars. The neighborhood policeman leaning against the wall of the 7-11 informs me, “The first time I saw you wearing this thing, I thought you were Middle Eastern.” It is an odd thing to hear said to a pale, blue-eyed male with a Southern accent. The wrap and I become one. I wear Henry to prepare dinner. I wear him on the subway. I wear him to the DMV. In line, a young woman with fashionable short hair approaches me to discuss the wrap. For ten minutes, she tells me about her experience with the wrap and how she proudly avoided a stroller. She speaks like we are members of a special baby-wearing club. Before moving on, she nods as if we are part of a movement. I nod back. At the Art Institute of Chicago, six months old and wrapped against my chest, Henry studies the museum visitors nearby, resting fingers on their chins. Contemplating Picasso’s Mother and Child, I absorb the rich grey, brown and flesh tones, amplified by the neutral white wall. I recognize the mother’s gaze. I saw it on my own face in a photograph taken on the day my son was born. The mother tilts her head downward and stares into the eyes of the infant anchored in her lap. She resembles a classical sculpture more than a living person. Her large, rounded features provide a haven; her tender eyes underpin the playful baby, holding his foot. The mother’s gaze shines a light into the recesses of my heart, into a part of myself I was conditioned to hide. Her tethered soul sends blood rushing through my chest. I learn that Picasso, in the early stages of the painting, included a father next to the mother and child — a father who stood over the boy, dangling a fish; a father who disappeared; a father covered with layers of paint as if he never existed. The warmth in my chest fades. I cannot offer a precise definition of a father, because there are as many types of fathers as creatures in Lake Michigan. I consider that many children equate fathers with absence. Fathers absent by choice or from circumstances beyond their control. Fathers not known and children reaching for their ghosts. * * * “How was the day?” Cara asks. “We survived,” I mumble. Henry drops his bottle and lunges from my lap to crawl towards his mother. Cara sets her work bag on the table and embraces him, their faces gleaming. I sit down on the gray IKEA couch to regroup and brainstorm dinner plans. The odor from a diaper explosion lingers in the trashcan and our one-bedroom apartment appears to have been ransacked by thieves. The floor is a minefield of Cheerios, wooden blocks, and teether toys. During the bedtime routine, I retreat to the bathroom, a closet-sized, windowless space. While the fiberglass tub slowly fills with hot water, I shut the door and turn off the lights. Pipes whistle in the walls, guiding water to rooms throughout the building. Stale cigarette smoke creeps through the vents courtesy of my chain-smoking neighbor. As I lie down, ripples splash against the tub and back against the sides of my body in the pitch-black room. For a few minutes, I close my eyes as the water stills. When motivation arrives, I reach outside the tub for the iPad planted on the floor nearby, and rest it securely on my chest. The screen flashes large, red block letters on an inky background. An endless menu appears, offering an escape. My scrolling index finger struggles to decide what to select. I should watch an award-winning foreign film. I should watch a documentary. I should watch a TED talk. I must not waste this opportunity. What I really want is to watch 1990s television. Don’t do it. You know you want to. At the tap of my finger, the glass screen flickers, revealing an explosion, lifting flames high in the remote Wisconsin woods. Minutes later a deputy sheriff, first to arrive in the dense forest, approaches the fiery scene. He encounters a strange, invisible creature that scorches him to death. In rapid succession, the events hook me before the haunting theme song of “The X-Files” and its monster-of-the-week storytelling transports me into hazy nostalgia. I swallow it like a pill. * * * On a breezy fall afternoon a few months later, during a visit to Whole Foods, we strike the samples. I navigate the aisles with Henry wrapped to my chest, maximizing our sampling potential. The organic apples, tomatoes and squash sparkle in the florescent light. A blender buzzes in the corner. I pick up a black cherry, bite it in half, and lower it to his mouth like a mother bird. This moment ignites a genial surge in my heart, a memory I pledge to preserve, a memory I would not have expected a year ago. We share pineapple, fancy cheese, tortilla chips, bite-size pizza, and hummus. Despite knowing Whole Foods does not align with our budget, we eat a shameful amount. At any moment, I am certain a manager will ask us to leave. If so, it will be worth it. As fall turns to winter and light fades to dark early in the evening, mysterious bites appear on our legs and arms. The exterminator examines the Ziploc bag containing the reddish-brown, oval parasites that crawled underneath a shared wall. He instructs us to vacate the apartment for several hours. After returning home, Cara bounces Henry to sleep in the bedroom. The gas heat fails to keep up with single-digit temperatures. The Chicago winter, winds whipping and snow accumulating, shoves life indoors. Slowly, our one-bedroom apartment transforms into a cell, difficult to leave after dusk. I withdraw to the bathtub. My iPad provides enough light to turn on the tub faucet and raise the water temperature. A bead of sweat forms on my forehead and rolls down the side of my face into the bathwater, while Fox Mulder, eccentric FBI agent and unexplained phenomena expert, enters the moonlit woods, racing to gather evidence from a crash site. While a strange, invisible creature lurks in the remote woods, escaping government officials, Mulder finds himself captured in a makeshift military jail. Dana Scully, Mulder’s straight-laced and skeptical partner, arrives to free him. She scoffs at his far-fetched explanation; he is frustrated with her naivety, but due to his confiscated camera there is no evidence to present her. Once again, the truth brushes against Mulder like a strange creature in the water before slipping away. Here is my truth: I am scared. I do not know how I am going to make it through the winter. I feel isolated. Beyond caring for my son, I have no energy or presence to offer the world. I want to write, but a numb brain struggles to shift into gear. I want to enjoy the winter wonderland, but only see tundra. * * * In the depths of winter, I sit on a frigid toilet at three o’clock in the morning, one eye open, too tired to stand. Unable to sleep, I grab the flashlight to inspect my son’s crib for bedbugs. I scan the light over his tiny, perfect feet. No bugs. Next, I turn to our bed where my wife lightly snores. I wave the light over the mattress. No bugs. I inspect the box springs and frame. A reddish-brown speck is wedged in a corner crease. I spread the crease. The speck crawls. I grab it with a tissue and drop it in a sandwich-size bag. I lie on the couch, resigned to the reality of bedbugs. Resigned to my isolated existence. Thoughts of failure spin in my mind. I am failing to keep bugs from biting my wife and son in the night. I am failing to provide for my family. I am failing to keep them from breathing secondhand smoke in our bedroom. The old tapes, ingrained in my brain from a hyper-masculine upbringing, play over and over in my mind. At six o’clock in the morning, the State of the Union address delivered on the previous night plays on my iPhone. President Obama’s words fill the kitchen. I disassemble the coffee grinder, remove the stale grounds, and wipe it clean with a small brush. Steam raises the lid off the silver kettle on the stovetop; water spews from the narrow, s-shaped spout. Henry, on my hip, waves at the hissing kettle. I remove it from the stove eye. I tare the scale. I grind the beans until they are reduced to a sand-like texture. I pull the tray from the grinder and breathe the freshly ground beans. Henry leans his face over the tray and pretends to take a deep breath. His blue eyes widen. A burst of applause comes through the iPhone speaker. I pour steaming water over grounds, which rest in a red, ceramic funnel on top of a glass pot. I pour enough to saturate them, causing the water and grounds to dance together, creating a mushroom-shaped bubble that collapses after thirty seconds, the signal for more water. I pour four hundred grams of water in a slow, circular motion; rich, brown liquid drips into the pot. My ears tune to the President’s words. “Today, we’re the only advanced country on Earth that doesn’t guarantee paid sick leave or paid maternity leave to our workers. Forty-three million workers have no paid sick leave. Forty-three million. Think about that. And that forces too many parents to make the gut-wrenching choice between a paycheck and a sick kid at home.” I recall a meeting before Henry’s birth. Responding to my request for paternity leave, my employer slides a thin piece of paper across the table, full of language resembling a legal contract. While reading the mechanical response, I shake my head at the decision to deny my request for two weeks of paid family leave. After three years, it is clear they do not value me, much less my pregnant wife; nor do they want to offer support when we need it most — hundreds of miles from our family and support network. The coffee finishes dripping. I pour a steaming cup into a porcelain mug. Henry fidgets as the steam rises. In the living room, while I sip my java, Henry rolls on the foam mat. Sharing five hundred square feet with a nearly one-year-old cellmate is like living inside a pinball machine. Henry bounces off the changing table, couch, kitchen cabinets, bookshelves, and television stand. In the afternoon, we shift to the hallway; he crawls and knocks on random doors, while our thick-haired Sheltie dutifully follows. Together, we inspect doormats and plug-in deodorizers; we ride the elevator. To escape, in the middle of winter with several feet of snow piling on the ground, we scurry to Super Foods, a corner grocery below our apartment. A gust of wind burns my cheeks, forcing Henry to tuck his head in my chest. He whimpers. Upon entering the store, Henry emerges with two brown ears and limbs swallowed by the fleece bear outfit my mother mailed from Tennessee. He trades smiles with the cashiers and the owner, an elderly Eastern European man who mesmerizes Henry with his accent. Henry and I squeeze past a line of customers wrapped in long winter coats and waiting to purchase lottery tickets. We plod across the cereal aisle examining box covers, spending several minutes admiring Toucan Sam and Lucky the Leprechaun. We land in the produce section. I quiz Henry. I hold potatoes, grapes, pineapples, broccoli and bananas in front of his face. “Ba-na-nas.” The corners on his face rise. “Ba-na-nas.” His lips open revealing his jagged teeth. “Ba-na-nas.” He giggles. At the cash register, I purchase a bunch of bananas to justify the trip. The elderly Eastern European man amuses Henry with facial expressions. After their exchange, I hustle back to our fifth-floor cell, leaning into the face-numbing wind, holding a bear and bananas. In the apartment, I sit Henry on the kitchen floor, place the bananas in the fruit basket, and remove our heavy clothing. I open the refrigerator door, grab the water pitcher and pour a glass. Henry crawls to the colorful containers resting on the wire shelving, while I slide to the floor and lean against the faux-wood kitchen cabinets and extend my legs into a V shape. The tile deadens the muscles in my ass. My sweatpants reveal stains ranging from coffee to breast milk to blueberry yogurt. Artificial light beams from the refrigerator, while the brutal wind whips against the windows of our apartment. Henry’s rounded legs squat to lower clanking salad dressing bottles to the floor. My neighbor’s door slams, echoing in the hallway. I doubt you will find refrigerator entertainment as a technique in a legitimate parenting manual, but it’s the only trick left in my bag. Henry hands me a head of broccoli and wobbles back toward the manufactured light. Leftovers from breakfast burritos fill my nostrils. In a bottom drawer, he discovers a bag of grapes, removes one, and turns towards me, grinning; he holds the grape at eye level as if turning a precious stone in the light. I force the tired muscles in my face into a half-smile. “Sharing five hundred square feet with a nearly one-year-old cellmate is like living inside a pinball machine.”I glance at my iPhone’s display. My wife will not arrive home for another three hours. I am a shell of myself, beat down by a blue-eyed creature barely weighing twenty pounds. I do not know how to raise myself from the tile floor. I have the physical strength, but emotionally I am unable. I sit. Henry explores the refrigerator. I question my fitness to care for him. I don’t know why I thought I could do this by myself. Naivety. Delusion. Immaturity. I don’t know, nor do I understand how I got lowered to this tile floor. * * * On a Saturday morning a few days later, I walk Jolene along the shore. The edges of the dim, grey horizon blend with sheets of ice on Lake Michigan. Crisp air blows off the ice, drying my eyes. Layers extend from the shore beginning with several feet of snow resting on solid ice, which alters to floating ice chunks packed together, bumping into thin sheets expanding to the skyline. My butt rests on an ice block posing as a bench near the sidewalk that wraps around the water. I have not smelled anything since the exhaust I inhaled crossing Lakeshore Drive. My dog’s breath steams out of her nose. I imagine the creatures beneath the coated lake, the freezing water driving them to the depths. Their movement limited. Their existence pressed downward. Down to the muddy bottom. I do not remember the last time happiness surfaced and shattered the expanding sheets over my heart. My emotions do not move; they dive to the recesses of my heart. I want someone to launch a large, jagged rock on to the frozen surface. I want someone to shatter the layers, create a hole large enough for my feelings to rise. A gaping hole, so big, the person I once knew emerges from the dim waters. I will hand a rock to anyone willing to hurl it. I cannot do it myself. * * * Cara and I sit on the grey IKEA couch. I stare at tropical images shuffling on the flat-screen television. Henry sleeps in the bedroom. The red line train hums northward, while a man digging in a dumpster sings in the alley. Cara’s large green eyes scan our family budget on the laptop. Her shoulders sag and brow furrows. “Here are three options,” I say. “First, we stay in Chicago, but I will need to get a full-time job and Henry will go to childcare. Second, we stay in Chicago, but I will need to get a flexible part-time job, continue caring for Henry, and we will squeak by financially. Third, we move to Tennessee and get closer to family and our support network.” Cara studies the grim budget. She tends to be decisive. I debate, waver, and second-guess. “We need to move to Tennessee,” she responds. “We can stay here but we will need to…” “No, we need to move. Life in Chicago with a child is not sustainable,” she says. We sit on the couch. The decision made itself and provides relief despite being laced with failure. We will return seeking balance after our world was turned upside down, seeking to recover from the shock of parenthood. The grueling routine of childcare will remain, but we hope a wider circle of support will ease the burden. We will move forward not on our terms, but on Henry’s. At the end of spring, we pack boxes and a handful of friends load our belongings on a rental truck. We abandon our couch and bed in the alley to avoid transporting bedbugs. On a Sunday morning, Cara and Henry board a flight to Nashville, while I stack the final boxes in the truck, pressing them inward with my shoulder as I pull the door down and secure the latch. I step into the cab, start the engine, and roll away from our apartment building. Our time in Chicago fades as life shoves us forward. I merge on to Lake Shore Drive. The road winds southward along the shore to exit the city. People walk the beach and bounce volleyballs and toss Frisbees. I imagine the creatures below the surface, no longer coated with ice, and wonder what life stirs. For the next seven hours, I will sit alone in the truck wondering what life stirs within myself. Wondering if my soul will thaw. Wondering if my true self will return. Narratively I bounce Henry on my shoulder at two o’clock in the morning. He moans and raises his head to survey the dark living room. He stares over my shoulder, eyes wide open, examining the shadows. Breast milk soaks my t-shirt, along with drool created by tiny, jagged teeth piercing his gums. I push his head back down with my palm, but he resists and releases a defiant scream. I bounce. I bargain with myself. I would donate a kidney for a full night’s rest. I would empty my checking account for a nap. I would never eat again at Five Guys Burgers for a few moments to shut my eyes. More Narratively: "My Runaway Childhood" Outside, the red line train hums at its stop near our fifth-floor apartment. My foggy brain registers the conductor’s muffled voice echoing from the speaker. Chicago stills during the early morning hours, but our living room remains active; a street light glimmers between the blinds. I bounce. Henry’s hot breath rushes from his lungs. The train departs, humming northbound into the night. More from Narratively: "The Night My Parents Had me Kidnapped" I lower us to a multicolored-foam play mat and lie flat on my back. Henry leans on my chest like a professional wrestler pinning his opponent. I close my eyes. The toilet flushes in the apartment next door, my neighbor ridding herself of another cigarette butt. While Henry listens to the rushing water, I consider my options: toss him out the window or ask my wife for help. However, neither of these options are included in the deal. I am on the clock, so I must remain conscious, battling an opponent with a delicious scalp and wonderfully chubby legs. Wandering through my hazy mind, I attempt to remember why I signed up for this job. More from Narratively: "I Can't Die Before My Son" While staring at the ceiling, my mind focuses on choices made after Henry’s birth. I embraced visions of myself as a hip, progressive father — a modern dad unburdened by rigid, traditional views of fatherhood, a man not forced to divide the roles of provider and protector from nurturer and caregiver. At the end of spring, I resigned from a soul-sucking job to care for Henry, four months old, while Cara returned to work at a non-profit in the heart of the city. We desired to leave behind suburban life and a lengthy commute, well suited for many families, but stressful and impossible in our particular situation. We moved into a one-bedroom apartment on the north side of Chicago, near Lake Michigan, a promising place to stroll along the shore. * * * On a balmy summer morning, a week later, I walk the streets of Chicago carrying Henry in a long, green band of cloth wrapped around my torso. He flails his arms and kicks his legs against my waist, studying passersby. We absorb the light reflecting off Lake Michigan’s choppy surface while walking Jolene, our thirty-pound sheltie mix. “Did you tie the wrap?” women ask. “Yes, I watched the YouTube instructional video a thousand times,” I respond. The soft wrap becomes a projection screen on which others display their parenting views. Women offer warm smiles, sometimes clapping. Men stare, dressed in their sleek suits, with furrowed brows. A teenage boy, arms hooked with his girlfriend, whispers loud enough for me to overhear, “Now, that’s the image of a man.” Another scruffy, bearded man in his twenties, standing on a busy street corner, points and roars. The neighborhood policeman leaning against the wall of the 7-11 informs me, “The first time I saw you wearing this thing, I thought you were Middle Eastern.” It is an odd thing to hear said to a pale, blue-eyed male with a Southern accent. The wrap and I become one. I wear Henry to prepare dinner. I wear him on the subway. I wear him to the DMV. In line, a young woman with fashionable short hair approaches me to discuss the wrap. For ten minutes, she tells me about her experience with the wrap and how she proudly avoided a stroller. She speaks like we are members of a special baby-wearing club. Before moving on, she nods as if we are part of a movement. I nod back. At the Art Institute of Chicago, six months old and wrapped against my chest, Henry studies the museum visitors nearby, resting fingers on their chins. Contemplating Picasso’s Mother and Child, I absorb the rich grey, brown and flesh tones, amplified by the neutral white wall. I recognize the mother’s gaze. I saw it on my own face in a photograph taken on the day my son was born. The mother tilts her head downward and stares into the eyes of the infant anchored in her lap. She resembles a classical sculpture more than a living person. Her large, rounded features provide a haven; her tender eyes underpin the playful baby, holding his foot. The mother’s gaze shines a light into the recesses of my heart, into a part of myself I was conditioned to hide. Her tethered soul sends blood rushing through my chest. I learn that Picasso, in the early stages of the painting, included a father next to the mother and child — a father who stood over the boy, dangling a fish; a father who disappeared; a father covered with layers of paint as if he never existed. The warmth in my chest fades. I cannot offer a precise definition of a father, because there are as many types of fathers as creatures in Lake Michigan. I consider that many children equate fathers with absence. Fathers absent by choice or from circumstances beyond their control. Fathers not known and children reaching for their ghosts. * * * “How was the day?” Cara asks. “We survived,” I mumble. Henry drops his bottle and lunges from my lap to crawl towards his mother. Cara sets her work bag on the table and embraces him, their faces gleaming. I sit down on the gray IKEA couch to regroup and brainstorm dinner plans. The odor from a diaper explosion lingers in the trashcan and our one-bedroom apartment appears to have been ransacked by thieves. The floor is a minefield of Cheerios, wooden blocks, and teether toys. During the bedtime routine, I retreat to the bathroom, a closet-sized, windowless space. While the fiberglass tub slowly fills with hot water, I shut the door and turn off the lights. Pipes whistle in the walls, guiding water to rooms throughout the building. Stale cigarette smoke creeps through the vents courtesy of my chain-smoking neighbor. As I lie down, ripples splash against the tub and back against the sides of my body in the pitch-black room. For a few minutes, I close my eyes as the water stills. When motivation arrives, I reach outside the tub for the iPad planted on the floor nearby, and rest it securely on my chest. The screen flashes large, red block letters on an inky background. An endless menu appears, offering an escape. My scrolling index finger struggles to decide what to select. I should watch an award-winning foreign film. I should watch a documentary. I should watch a TED talk. I must not waste this opportunity. What I really want is to watch 1990s television. Don’t do it. You know you want to. At the tap of my finger, the glass screen flickers, revealing an explosion, lifting flames high in the remote Wisconsin woods. Minutes later a deputy sheriff, first to arrive in the dense forest, approaches the fiery scene. He encounters a strange, invisible creature that scorches him to death. In rapid succession, the events hook me before the haunting theme song of “The X-Files” and its monster-of-the-week storytelling transports me into hazy nostalgia. I swallow it like a pill. * * * On a breezy fall afternoon a few months later, during a visit to Whole Foods, we strike the samples. I navigate the aisles with Henry wrapped to my chest, maximizing our sampling potential. The organic apples, tomatoes and squash sparkle in the florescent light. A blender buzzes in the corner. I pick up a black cherry, bite it in half, and lower it to his mouth like a mother bird. This moment ignites a genial surge in my heart, a memory I pledge to preserve, a memory I would not have expected a year ago. We share pineapple, fancy cheese, tortilla chips, bite-size pizza, and hummus. Despite knowing Whole Foods does not align with our budget, we eat a shameful amount. At any moment, I am certain a manager will ask us to leave. If so, it will be worth it. As fall turns to winter and light fades to dark early in the evening, mysterious bites appear on our legs and arms. The exterminator examines the Ziploc bag containing the reddish-brown, oval parasites that crawled underneath a shared wall. He instructs us to vacate the apartment for several hours. After returning home, Cara bounces Henry to sleep in the bedroom. The gas heat fails to keep up with single-digit temperatures. The Chicago winter, winds whipping and snow accumulating, shoves life indoors. Slowly, our one-bedroom apartment transforms into a cell, difficult to leave after dusk. I withdraw to the bathtub. My iPad provides enough light to turn on the tub faucet and raise the water temperature. A bead of sweat forms on my forehead and rolls down the side of my face into the bathwater, while Fox Mulder, eccentric FBI agent and unexplained phenomena expert, enters the moonlit woods, racing to gather evidence from a crash site. While a strange, invisible creature lurks in the remote woods, escaping government officials, Mulder finds himself captured in a makeshift military jail. Dana Scully, Mulder’s straight-laced and skeptical partner, arrives to free him. She scoffs at his far-fetched explanation; he is frustrated with her naivety, but due to his confiscated camera there is no evidence to present her. Once again, the truth brushes against Mulder like a strange creature in the water before slipping away. Here is my truth: I am scared. I do not know how I am going to make it through the winter. I feel isolated. Beyond caring for my son, I have no energy or presence to offer the world. I want to write, but a numb brain struggles to shift into gear. I want to enjoy the winter wonderland, but only see tundra. * * * In the depths of winter, I sit on a frigid toilet at three o’clock in the morning, one eye open, too tired to stand. Unable to sleep, I grab the flashlight to inspect my son’s crib for bedbugs. I scan the light over his tiny, perfect feet. No bugs. Next, I turn to our bed where my wife lightly snores. I wave the light over the mattress. No bugs. I inspect the box springs and frame. A reddish-brown speck is wedged in a corner crease. I spread the crease. The speck crawls. I grab it with a tissue and drop it in a sandwich-size bag. I lie on the couch, resigned to the reality of bedbugs. Resigned to my isolated existence. Thoughts of failure spin in my mind. I am failing to keep bugs from biting my wife and son in the night. I am failing to provide for my family. I am failing to keep them from breathing secondhand smoke in our bedroom. The old tapes, ingrained in my brain from a hyper-masculine upbringing, play over and over in my mind. At six o’clock in the morning, the State of the Union address delivered on the previous night plays on my iPhone. President Obama’s words fill the kitchen. I disassemble the coffee grinder, remove the stale grounds, and wipe it clean with a small brush. Steam raises the lid off the silver kettle on the stovetop; water spews from the narrow, s-shaped spout. Henry, on my hip, waves at the hissing kettle. I remove it from the stove eye. I tare the scale. I grind the beans until they are reduced to a sand-like texture. I pull the tray from the grinder and breathe the freshly ground beans. Henry leans his face over the tray and pretends to take a deep breath. His blue eyes widen. A burst of applause comes through the iPhone speaker. I pour steaming water over grounds, which rest in a red, ceramic funnel on top of a glass pot. I pour enough to saturate them, causing the water and grounds to dance together, creating a mushroom-shaped bubble that collapses after thirty seconds, the signal for more water. I pour four hundred grams of water in a slow, circular motion; rich, brown liquid drips into the pot. My ears tune to the President’s words. “Today, we’re the only advanced country on Earth that doesn’t guarantee paid sick leave or paid maternity leave to our workers. Forty-three million workers have no paid sick leave. Forty-three million. Think about that. And that forces too many parents to make the gut-wrenching choice between a paycheck and a sick kid at home.” I recall a meeting before Henry’s birth. Responding to my request for paternity leave, my employer slides a thin piece of paper across the table, full of language resembling a legal contract. While reading the mechanical response, I shake my head at the decision to deny my request for two weeks of paid family leave. After three years, it is clear they do not value me, much less my pregnant wife; nor do they want to offer support when we need it most — hundreds of miles from our family and support network. The coffee finishes dripping. I pour a steaming cup into a porcelain mug. Henry fidgets as the steam rises. In the living room, while I sip my java, Henry rolls on the foam mat. Sharing five hundred square feet with a nearly one-year-old cellmate is like living inside a pinball machine. Henry bounces off the changing table, couch, kitchen cabinets, bookshelves, and television stand. In the afternoon, we shift to the hallway; he crawls and knocks on random doors, while our thick-haired Sheltie dutifully follows. Together, we inspect doormats and plug-in deodorizers; we ride the elevator. To escape, in the middle of winter with several feet of snow piling on the ground, we scurry to Super Foods, a corner grocery below our apartment. A gust of wind burns my cheeks, forcing Henry to tuck his head in my chest. He whimpers. Upon entering the store, Henry emerges with two brown ears and limbs swallowed by the fleece bear outfit my mother mailed from Tennessee. He trades smiles with the cashiers and the owner, an elderly Eastern European man who mesmerizes Henry with his accent. Henry and I squeeze past a line of customers wrapped in long winter coats and waiting to purchase lottery tickets. We plod across the cereal aisle examining box covers, spending several minutes admiring Toucan Sam and Lucky the Leprechaun. We land in the produce section. I quiz Henry. I hold potatoes, grapes, pineapples, broccoli and bananas in front of his face. “Ba-na-nas.” The corners on his face rise. “Ba-na-nas.” His lips open revealing his jagged teeth. “Ba-na-nas.” He giggles. At the cash register, I purchase a bunch of bananas to justify the trip. The elderly Eastern European man amuses Henry with facial expressions. After their exchange, I hustle back to our fifth-floor cell, leaning into the face-numbing wind, holding a bear and bananas. In the apartment, I sit Henry on the kitchen floor, place the bananas in the fruit basket, and remove our heavy clothing. I open the refrigerator door, grab the water pitcher and pour a glass. Henry crawls to the colorful containers resting on the wire shelving, while I slide to the floor and lean against the faux-wood kitchen cabinets and extend my legs into a V shape. The tile deadens the muscles in my ass. My sweatpants reveal stains ranging from coffee to breast milk to blueberry yogurt. Artificial light beams from the refrigerator, while the brutal wind whips against the windows of our apartment. Henry’s rounded legs squat to lower clanking salad dressing bottles to the floor. My neighbor’s door slams, echoing in the hallway. I doubt you will find refrigerator entertainment as a technique in a legitimate parenting manual, but it’s the only trick left in my bag. Henry hands me a head of broccoli and wobbles back toward the manufactured light. Leftovers from breakfast burritos fill my nostrils. In a bottom drawer, he discovers a bag of grapes, removes one, and turns towards me, grinning; he holds the grape at eye level as if turning a precious stone in the light. I force the tired muscles in my face into a half-smile. “Sharing five hundred square feet with a nearly one-year-old cellmate is like living inside a pinball machine.”I glance at my iPhone’s display. My wife will not arrive home for another three hours. I am a shell of myself, beat down by a blue-eyed creature barely weighing twenty pounds. I do not know how to raise myself from the tile floor. I have the physical strength, but emotionally I am unable. I sit. Henry explores the refrigerator. I question my fitness to care for him. I don’t know why I thought I could do this by myself. Naivety. Delusion. Immaturity. I don’t know, nor do I understand how I got lowered to this tile floor. * * * On a Saturday morning a few days later, I walk Jolene along the shore. The edges of the dim, grey horizon blend with sheets of ice on Lake Michigan. Crisp air blows off the ice, drying my eyes. Layers extend from the shore beginning with several feet of snow resting on solid ice, which alters to floating ice chunks packed together, bumping into thin sheets expanding to the skyline. My butt rests on an ice block posing as a bench near the sidewalk that wraps around the water. I have not smelled anything since the exhaust I inhaled crossing Lakeshore Drive. My dog’s breath steams out of her nose. I imagine the creatures beneath the coated lake, the freezing water driving them to the depths. Their movement limited. Their existence pressed downward. Down to the muddy bottom. I do not remember the last time happiness surfaced and shattered the expanding sheets over my heart. My emotions do not move; they dive to the recesses of my heart. I want someone to launch a large, jagged rock on to the frozen surface. I want someone to shatter the layers, create a hole large enough for my feelings to rise. A gaping hole, so big, the person I once knew emerges from the dim waters. I will hand a rock to anyone willing to hurl it. I cannot do it myself. * * * Cara and I sit on the grey IKEA couch. I stare at tropical images shuffling on the flat-screen television. Henry sleeps in the bedroom. The red line train hums northward, while a man digging in a dumpster sings in the alley. Cara’s large green eyes scan our family budget on the laptop. Her shoulders sag and brow furrows. “Here are three options,” I say. “First, we stay in Chicago, but I will need to get a full-time job and Henry will go to childcare. Second, we stay in Chicago, but I will need to get a flexible part-time job, continue caring for Henry, and we will squeak by financially. Third, we move to Tennessee and get closer to family and our support network.” Cara studies the grim budget. She tends to be decisive. I debate, waver, and second-guess. “We need to move to Tennessee,” she responds. “We can stay here but we will need to…” “No, we need to move. Life in Chicago with a child is not sustainable,” she says. We sit on the couch. The decision made itself and provides relief despite being laced with failure. We will return seeking balance after our world was turned upside down, seeking to recover from the shock of parenthood. The grueling routine of childcare will remain, but we hope a wider circle of support will ease the burden. We will move forward not on our terms, but on Henry’s. At the end of spring, we pack boxes and a handful of friends load our belongings on a rental truck. We abandon our couch and bed in the alley to avoid transporting bedbugs. On a Sunday morning, Cara and Henry board a flight to Nashville, while I stack the final boxes in the truck, pressing them inward with my shoulder as I pull the door down and secure the latch. I step into the cab, start the engine, and roll away from our apartment building. Our time in Chicago fades as life shoves us forward. I merge on to Lake Shore Drive. The road winds southward along the shore to exit the city. People walk the beach and bounce volleyballs and toss Frisbees. I imagine the creatures below the surface, no longer coated with ice, and wonder what life stirs. For the next seven hours, I will sit alone in the truck wondering what life stirs within myself. Wondering if my soul will thaw. Wondering if my true self will return.

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Published on March 20, 2016 14:00

The best antihero now isn’t a badass: “Better Call Saul” is the brilliant, pathetic counterpart to prestige TV’s bold angry men

In this season of “Better Call Saul,” AMC’s prequel series to “Breaking Bad,” a specific image has become motif. It’s not just some clever craftsmanship, although creators Vince Gilligan and Peter Gould—also of “Breaking Bad”— show off their technical abilities with every scene of their current show. It’s an image that encapsulates the tragedy of “Better Call Saul”’s protagonist, Jimmy McGill, played with virtuoso skill by Bob Odenkirk—and, by extension, the theme of this drama, which is arcing toward not just “Breaking Bad” but a dim, black-and-white future beyond that. The image is one of fear. In the first episode of this season, Jimmy—who eventually cycles through the name Saul, before landing on Gene—gets locked inside the trash room of the mall he works at. He reaches for the emergency exit to let himself out, and hesitates, hovering at the threshold, reading the torn printout taped to the door. The door is alarmed, it informs him; the police will be notified. He wavers for a moment more, and then turns, decisively, to walk in the other direction. A choice is offered, and he takes the other way; it is the Omaha-mall version of Robert Frost’s two diverging roads in the woods. In the season’s third episode, Jimmy—now, still Jimmy, before any other identities floated his way—is faced with a similar choice. This season, as a well-heeled associate at an upscale law firm, Jimmy is trying to get by legitimately, for once. But he can’t stop himself from rule-breaking and smooth-talking, driven by an unnamed desire to break bad, as the series’ sequel would term it. In “Amarillo,” he’s holding a proposed commercial he taped with a budget of $647, waiting outside the office of his boss, Cliff Main (Ed Begley Jr.), deciding whether he should go in and ask for approval. He tries to push himself across the threshold, and fails. He tries again. And when it doesn’t work, he decisively turns around and goes back in the direction he came in, to take the completely different tack of running the ad without Cliff’s permission. The scenes intentionally mirror each other. Each shows Jimmy/Gene at the edge of an irrevocable decision, hovering on the edge of a law-abiding, rules-following life, and then turning one way or the other. But in both—portrayed magnificently by Odenkirk—the primary emotion is fear. There are many ways in which Jimmy McGill’s story in “Better Call Saul” is a lot like those antiheroes who created the landscape of prestige television. Like them, he’s a troublemaker; like them, he’s strangely lovable, anyway. Like “The Sopranos,” “Breaking Bad” and “Mad Men,” “Better Call Saul” is about watching a flawed man do flawed things and hurt the people around him, but it’s also about how struggling for one’s humanity is a central part of living, as any person. And yet what Jimmy McGill isn’t, and really never could be, is “cool.” Or badass, or suave, or powerfully icy. In conflict situations, Jimmy is hysterically nonconfrontational—both in “Better Call Saul” and “Breaking Bad.” He’s definitely a talker—smoothly articulate through both lies and tears, charming the pants off of old ladies at bingo and snotty stockbrokers at hotel bars. But his trickery is a compensation for the fundamental fact of Jimmy, which is that he is a coward. An earnest one; an emotionally authentic one. But not a risk-taker, not a game-changer. Just a guy. The driving fear at the heart of Jimmy McGill is what has made “Better Call Saul” such a captivating and fundamental counterweight to “Breaking Bad,” the AMC show that “Better Call Saul” is built off of. Pointing to the tone and the pacing, New York magazine’s Matt Zoller Seitz argued that “Better Call Saul” is the anti-“Breaking Bad,” and I’m inclined to agree. But it’s more than just tone for me. It’s that Walter White (Bryan Cranston) is a bold man who dies, while Jimmy is a craven one who lives. He is the cockroach of this universe; above all else, the shell of a man once known as Jimmy McGill always survives. One of “Breaking Bad’s" most famous lines is in a scene where Walter, shuddering with rage, tells his wife, Skyler (Anna Gunn), that she does not need to fear that he is in danger, because when a door opens and someone is there with a gun, “I am the one who knocks.” Doors, and thresholds, have significance for Gilligan and Gould; the Season 3 finale, for example, has Gale killed after answering his door. It’s telling, I think, that Jimmy’s recurring motif is one of hesitation at doors, instead of knocking, like Walter, or opening, like Gale. Walter White is the one who knocks; Jimmy McGill walks in the other direction. The antihero drama is one that went from an isolated occurrence on a few risk-taking networks to become a symbol of a high-quality wave of television shows and then the embodiment of frustratingly derivative network imitations. Now that we appear to have gotten it out of our collective system, “Better Call Saul” appears to have shown up just to show us how silly the discussion was. The show’s Jimmy is a much-needed note of dissonance: the actually pathetic antihero. Not the alpha male that made some bad decisions, but the omega male, the one the alpha male beats up to prove a point. Jimmy/Saul/Gene is not in the same hierarchy of dominance as the big dogs jockeying for power—Walter and Gus (Giancarlo Esposito); he’s not even one of the beta males, the willing sidekicks, like Jesse (Aaron Paul) and Gale (David Costabile), the ones who end up dead or damaged. Jimmy is a bottom-feeder. “Better Call Saul,” especially in this brilliant second season, has made us love him. In every antihero drama otherwise—both the good ones and the bad ones—the exploits of the protagonists took on the veneer of awesomeness. “Breaking Bad’s" Walter White delivered ultimatums with a chilling, thrilling nod of his black porkpie hat, yes. But he was also a drug dealer, creating the most addictive strain of an already life-destroying drug; and in order to secure that life, he became a murderer, too. “The Sopranos’" Tony Soprano (James Gandolfini) was a wickedly funny family man, one who navigated the ins and outs of the mob life with incredible dexterity. But he was also responsible for the torture and death of dozens of people, and made others live in a world of fear. Even the non-murderous Don Draper (Jon Hamm), in “Mad Men,” was a womanizing alcoholic who knew that cigarettes would kill you and marketed them anyway. Part of the beguiling nature of the antihero drama is that it forces its audience to confront “cool” and grapple with what really lies beneath it. “The Sopranos,” in particular, is an object lesson in confronting proximate evil—or, at least, proximate sociopathy—as Tony’s innermost nature is revealed to be darker and darker. But you can lead the audience to thematic resonance; you can’t make them feel it. This listicle from 2013, titled “Tony Soprano’s 10 Greatest Moments Ever,” includes him garroting an informant, killing his nephew, and physically threatening his psychiatrist as the character’s high points. Walter White’s “Heisenberg” persona is a kind of cult icon for fans of “Breaking Bad.” And Don Draper’s fix of choice is what made the old-fashioned cocktail become trendy again, even when it was clear that the constant clinking of ice cubes in a glass had more than a little to do with Don’s misadventures. There’s a theory floating around on Twitter that argues that perhaps the antiheroes of yore, like Tony Soprano and Don Draper, paved the way for the indulgent attitude so many Americans seem to have toward the wrongdoing of Donald Trump. That could be true; I don’t know. But I do think that taps into something more perplexing about what we term bad behavior—which is that, at least from a distance, we also laud it. There is some perennial appeal to the spectacle of white men behaving badly on television, and that misbehavior’s appeal is probably what got these shows made in the first place. The mobster show. The ‘60s womanizer’s show. The teacher turning into a drug dealer, with the theme right there in the title. Most shows are made because something about them is grabby or engaging right from the start; unfortunately, for cable television, that’s usually exploitative violence or indulgent female nudity. The alpha male antihero fits right into that model; he’s a vehicle for what much of the audience wishes they could get away with, and in the process, obtains a lot of what the audience wants. Drugs. Money. Women. Status. But “Better Call Saul” didn’t need to impress a distant network executive. The world was familiar and already beloved; the plot even already had an ending, although “Better Call Saul” has offered a bit of a coda, too. The show didn’t need to establish itself as a show in the first four episodes for an impatient audience. And as a result—in the hands of these capable creators—“Better Call Saul” can do a lot of things that most shows can’t. It jumps around, chronologically, with enviable confidence; it introduces characters for all of 30 seconds that its audience goes into spasms of joy over; it dwells on a retirement-home fraud case for one-and-a-half seasons and counting. But best of all, it has found us a real antihero, one without any macho swagger or bravado. There’s a redefining there, not just of bad behavior, but of masculinity; ending up terrified in an Omaha mall’s trash room is not a blaze of glory or a fairy tale; it is not a story to be repeated at parties. Jimmy/Gene/Saul is a kind of challenge for an audience too used to these male figures of bravado; it gives us someone emasculated, and it asks us to worry about his soul anyway.In this season of “Better Call Saul,” AMC’s prequel series to “Breaking Bad,” a specific image has become motif. It’s not just some clever craftsmanship, although creators Vince Gilligan and Peter Gould—also of “Breaking Bad”— show off their technical abilities with every scene of their current show. It’s an image that encapsulates the tragedy of “Better Call Saul”’s protagonist, Jimmy McGill, played with virtuoso skill by Bob Odenkirk—and, by extension, the theme of this drama, which is arcing toward not just “Breaking Bad” but a dim, black-and-white future beyond that. The image is one of fear. In the first episode of this season, Jimmy—who eventually cycles through the name Saul, before landing on Gene—gets locked inside the trash room of the mall he works at. He reaches for the emergency exit to let himself out, and hesitates, hovering at the threshold, reading the torn printout taped to the door. The door is alarmed, it informs him; the police will be notified. He wavers for a moment more, and then turns, decisively, to walk in the other direction. A choice is offered, and he takes the other way; it is the Omaha-mall version of Robert Frost’s two diverging roads in the woods. In the season’s third episode, Jimmy—now, still Jimmy, before any other identities floated his way—is faced with a similar choice. This season, as a well-heeled associate at an upscale law firm, Jimmy is trying to get by legitimately, for once. But he can’t stop himself from rule-breaking and smooth-talking, driven by an unnamed desire to break bad, as the series’ sequel would term it. In “Amarillo,” he’s holding a proposed commercial he taped with a budget of $647, waiting outside the office of his boss, Cliff Main (Ed Begley Jr.), deciding whether he should go in and ask for approval. He tries to push himself across the threshold, and fails. He tries again. And when it doesn’t work, he decisively turns around and goes back in the direction he came in, to take the completely different tack of running the ad without Cliff’s permission. The scenes intentionally mirror each other. Each shows Jimmy/Gene at the edge of an irrevocable decision, hovering on the edge of a law-abiding, rules-following life, and then turning one way or the other. But in both—portrayed magnificently by Odenkirk—the primary emotion is fear. There are many ways in which Jimmy McGill’s story in “Better Call Saul” is a lot like those antiheroes who created the landscape of prestige television. Like them, he’s a troublemaker; like them, he’s strangely lovable, anyway. Like “The Sopranos,” “Breaking Bad” and “Mad Men,” “Better Call Saul” is about watching a flawed man do flawed things and hurt the people around him, but it’s also about how struggling for one’s humanity is a central part of living, as any person. And yet what Jimmy McGill isn’t, and really never could be, is “cool.” Or badass, or suave, or powerfully icy. In conflict situations, Jimmy is hysterically nonconfrontational—both in “Better Call Saul” and “Breaking Bad.” He’s definitely a talker—smoothly articulate through both lies and tears, charming the pants off of old ladies at bingo and snotty stockbrokers at hotel bars. But his trickery is a compensation for the fundamental fact of Jimmy, which is that he is a coward. An earnest one; an emotionally authentic one. But not a risk-taker, not a game-changer. Just a guy. The driving fear at the heart of Jimmy McGill is what has made “Better Call Saul” such a captivating and fundamental counterweight to “Breaking Bad,” the AMC show that “Better Call Saul” is built off of. Pointing to the tone and the pacing, New York magazine’s Matt Zoller Seitz argued that “Better Call Saul” is the anti-“Breaking Bad,” and I’m inclined to agree. But it’s more than just tone for me. It’s that Walter White (Bryan Cranston) is a bold man who dies, while Jimmy is a craven one who lives. He is the cockroach of this universe; above all else, the shell of a man once known as Jimmy McGill always survives. One of “Breaking Bad’s" most famous lines is in a scene where Walter, shuddering with rage, tells his wife, Skyler (Anna Gunn), that she does not need to fear that he is in danger, because when a door opens and someone is there with a gun, “I am the one who knocks.” Doors, and thresholds, have significance for Gilligan and Gould; the Season 3 finale, for example, has Gale killed after answering his door. It’s telling, I think, that Jimmy’s recurring motif is one of hesitation at doors, instead of knocking, like Walter, or opening, like Gale. Walter White is the one who knocks; Jimmy McGill walks in the other direction. The antihero drama is one that went from an isolated occurrence on a few risk-taking networks to become a symbol of a high-quality wave of television shows and then the embodiment of frustratingly derivative network imitations. Now that we appear to have gotten it out of our collective system, “Better Call Saul” appears to have shown up just to show us how silly the discussion was. The show’s Jimmy is a much-needed note of dissonance: the actually pathetic antihero. Not the alpha male that made some bad decisions, but the omega male, the one the alpha male beats up to prove a point. Jimmy/Saul/Gene is not in the same hierarchy of dominance as the big dogs jockeying for power—Walter and Gus (Giancarlo Esposito); he’s not even one of the beta males, the willing sidekicks, like Jesse (Aaron Paul) and Gale (David Costabile), the ones who end up dead or damaged. Jimmy is a bottom-feeder. “Better Call Saul,” especially in this brilliant second season, has made us love him. In every antihero drama otherwise—both the good ones and the bad ones—the exploits of the protagonists took on the veneer of awesomeness. “Breaking Bad’s" Walter White delivered ultimatums with a chilling, thrilling nod of his black porkpie hat, yes. But he was also a drug dealer, creating the most addictive strain of an already life-destroying drug; and in order to secure that life, he became a murderer, too. “The Sopranos’" Tony Soprano (James Gandolfini) was a wickedly funny family man, one who navigated the ins and outs of the mob life with incredible dexterity. But he was also responsible for the torture and death of dozens of people, and made others live in a world of fear. Even the non-murderous Don Draper (Jon Hamm), in “Mad Men,” was a womanizing alcoholic who knew that cigarettes would kill you and marketed them anyway. Part of the beguiling nature of the antihero drama is that it forces its audience to confront “cool” and grapple with what really lies beneath it. “The Sopranos,” in particular, is an object lesson in confronting proximate evil—or, at least, proximate sociopathy—as Tony’s innermost nature is revealed to be darker and darker. But you can lead the audience to thematic resonance; you can’t make them feel it. This listicle from 2013, titled “Tony Soprano’s 10 Greatest Moments Ever,” includes him garroting an informant, killing his nephew, and physically threatening his psychiatrist as the character’s high points. Walter White’s “Heisenberg” persona is a kind of cult icon for fans of “Breaking Bad.” And Don Draper’s fix of choice is what made the old-fashioned cocktail become trendy again, even when it was clear that the constant clinking of ice cubes in a glass had more than a little to do with Don’s misadventures. There’s a theory floating around on Twitter that argues that perhaps the antiheroes of yore, like Tony Soprano and Don Draper, paved the way for the indulgent attitude so many Americans seem to have toward the wrongdoing of Donald Trump. That could be true; I don’t know. But I do think that taps into something more perplexing about what we term bad behavior—which is that, at least from a distance, we also laud it. There is some perennial appeal to the spectacle of white men behaving badly on television, and that misbehavior’s appeal is probably what got these shows made in the first place. The mobster show. The ‘60s womanizer’s show. The teacher turning into a drug dealer, with the theme right there in the title. Most shows are made because something about them is grabby or engaging right from the start; unfortunately, for cable television, that’s usually exploitative violence or indulgent female nudity. The alpha male antihero fits right into that model; he’s a vehicle for what much of the audience wishes they could get away with, and in the process, obtains a lot of what the audience wants. Drugs. Money. Women. Status. But “Better Call Saul” didn’t need to impress a distant network executive. The world was familiar and already beloved; the plot even already had an ending, although “Better Call Saul” has offered a bit of a coda, too. The show didn’t need to establish itself as a show in the first four episodes for an impatient audience. And as a result—in the hands of these capable creators—“Better Call Saul” can do a lot of things that most shows can’t. It jumps around, chronologically, with enviable confidence; it introduces characters for all of 30 seconds that its audience goes into spasms of joy over; it dwells on a retirement-home fraud case for one-and-a-half seasons and counting. But best of all, it has found us a real antihero, one without any macho swagger or bravado. There’s a redefining there, not just of bad behavior, but of masculinity; ending up terrified in an Omaha mall’s trash room is not a blaze of glory or a fairy tale; it is not a story to be repeated at parties. Jimmy/Gene/Saul is a kind of challenge for an audience too used to these male figures of bravado; it gives us someone emasculated, and it asks us to worry about his soul anyway.

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Published on March 20, 2016 12:30

The breathtaking human toll of environmental pollution

Global Post We all know that pollution is bad for our health.

Just how bad was laid out by the World Health Organization this week in a bleak new report on environmentally related deaths.

New analysis of data from 2012 found that a staggering 12.6 million people died that year from living and working in toxic environments.

That’s almost equivalent to the combined populations of New York City and Los Angeles, and represents nearly a quarter of the 55.6 million deaths recorded that year.

That’s scary, but it gets worse.

World Health Organization

The number of deaths due to noncommunicable diseases, such as stroke, heart disease, cancer and respiratory illness, made up 8.2 million or nearly two-thirds of the deaths resulting from unhealthy environments. The WHO says these deaths were mostly caused by air pollution.

These are preventable deaths, the WHO reminds us.

“A healthy environment underpins a healthy population,” WHO Director General Margaret Chan said in a statement. “If countries do not take actions to make environments where people live and work healthy, millions will continue to become ill and die too young.”

Low- and middle-income countries in Southeast Asia and the Western Pacific Region, where rapid economic growth has been blamed for soaring levels of air, water and soil contamination, were the worst affected by environmental-related deaths. Those regions had an estimated death toll of 7.3 million, mostly as a result of indoor and outdoor air pollution.

World Health Organization

The very young and the very old were the most vulnerable members of the global population: 1.7 million children under the age of 5 and 4.9 million adults aged between 50 and 75 years old lost their lives because of environmental factors.

Fortunately, there were some bright spots in the report.

The total number of deaths worldwide in 2012 fell by 1.4 million over the preceding decade as the number of deaths attributable to the environment decreased from 13.3 million to 12.6 million.

Deaths from infectious, parasitic and nutritional diseases, such as malaria and diarrhea, also fell due to more people having access to safe water and sanitation and because a smaller share of households used solid fuels, such as coal, for cooking. The category accounted for 20 percent of deaths attributable to the environment in 2012, compared with 31 percent a decade earlier.

(At the same time, though, deaths from noncommunicable diseases trended upwards to 22 percent of environmental-related deaths in 2012 from 17 percent in 2002.)

Another bit of good news was the action being taken by many cities around the world to clean up the environment.

The WHO highlighted the example of the Brazilian city of Curitiba, where authorities are investing heavily in slum improvements, waste recycling, public transport and pedestrian walkways to encourage people to walk and cycle more.

“Despite a five-fold population increase in the past 50 years, air pollution levels are comparatively lower than in many other rapidly growing cities and life expectancy is two years longer than the national average,” the WHO said.

That’s a good start, but a lot more needs to be done.

Global Post We all know that pollution is bad for our health.

Just how bad was laid out by the World Health Organization this week in a bleak new report on environmentally related deaths.

New analysis of data from 2012 found that a staggering 12.6 million people died that year from living and working in toxic environments.

That’s almost equivalent to the combined populations of New York City and Los Angeles, and represents nearly a quarter of the 55.6 million deaths recorded that year.

That’s scary, but it gets worse.

World Health Organization

The number of deaths due to noncommunicable diseases, such as stroke, heart disease, cancer and respiratory illness, made up 8.2 million or nearly two-thirds of the deaths resulting from unhealthy environments. The WHO says these deaths were mostly caused by air pollution.

These are preventable deaths, the WHO reminds us.

“A healthy environment underpins a healthy population,” WHO Director General Margaret Chan said in a statement. “If countries do not take actions to make environments where people live and work healthy, millions will continue to become ill and die too young.”

Low- and middle-income countries in Southeast Asia and the Western Pacific Region, where rapid economic growth has been blamed for soaring levels of air, water and soil contamination, were the worst affected by environmental-related deaths. Those regions had an estimated death toll of 7.3 million, mostly as a result of indoor and outdoor air pollution.

World Health Organization

The very young and the very old were the most vulnerable members of the global population: 1.7 million children under the age of 5 and 4.9 million adults aged between 50 and 75 years old lost their lives because of environmental factors.

Fortunately, there were some bright spots in the report.

The total number of deaths worldwide in 2012 fell by 1.4 million over the preceding decade as the number of deaths attributable to the environment decreased from 13.3 million to 12.6 million.

Deaths from infectious, parasitic and nutritional diseases, such as malaria and diarrhea, also fell due to more people having access to safe water and sanitation and because a smaller share of households used solid fuels, such as coal, for cooking. The category accounted for 20 percent of deaths attributable to the environment in 2012, compared with 31 percent a decade earlier.

(At the same time, though, deaths from noncommunicable diseases trended upwards to 22 percent of environmental-related deaths in 2012 from 17 percent in 2002.)

Another bit of good news was the action being taken by many cities around the world to clean up the environment.

The WHO highlighted the example of the Brazilian city of Curitiba, where authorities are investing heavily in slum improvements, waste recycling, public transport and pedestrian walkways to encourage people to walk and cycle more.

“Despite a five-fold population increase in the past 50 years, air pollution levels are comparatively lower than in many other rapidly growing cities and life expectancy is two years longer than the national average,” the WHO said.

That’s a good start, but a lot more needs to be done.

Global Post We all know that pollution is bad for our health.

Just how bad was laid out by the World Health Organization this week in a bleak new report on environmentally related deaths.

New analysis of data from 2012 found that a staggering 12.6 million people died that year from living and working in toxic environments.

That’s almost equivalent to the combined populations of New York City and Los Angeles, and represents nearly a quarter of the 55.6 million deaths recorded that year.

That’s scary, but it gets worse.

World Health Organization

The number of deaths due to noncommunicable diseases, such as stroke, heart disease, cancer and respiratory illness, made up 8.2 million or nearly two-thirds of the deaths resulting from unhealthy environments. The WHO says these deaths were mostly caused by air pollution.

These are preventable deaths, the WHO reminds us.

“A healthy environment underpins a healthy population,” WHO Director General Margaret Chan said in a statement. “If countries do not take actions to make environments where people live and work healthy, millions will continue to become ill and die too young.”

Low- and middle-income countries in Southeast Asia and the Western Pacific Region, where rapid economic growth has been blamed for soaring levels of air, water and soil contamination, were the worst affected by environmental-related deaths. Those regions had an estimated death toll of 7.3 million, mostly as a result of indoor and outdoor air pollution.

World Health Organization

The very young and the very old were the most vulnerable members of the global population: 1.7 million children under the age of 5 and 4.9 million adults aged between 50 and 75 years old lost their lives because of environmental factors.

Fortunately, there were some bright spots in the report.

The total number of deaths worldwide in 2012 fell by 1.4 million over the preceding decade as the number of deaths attributable to the environment decreased from 13.3 million to 12.6 million.

Deaths from infectious, parasitic and nutritional diseases, such as malaria and diarrhea, also fell due to more people having access to safe water and sanitation and because a smaller share of households used solid fuels, such as coal, for cooking. The category accounted for 20 percent of deaths attributable to the environment in 2012, compared with 31 percent a decade earlier.

(At the same time, though, deaths from noncommunicable diseases trended upwards to 22 percent of environmental-related deaths in 2012 from 17 percent in 2002.)

Another bit of good news was the action being taken by many cities around the world to clean up the environment.

The WHO highlighted the example of the Brazilian city of Curitiba, where authorities are investing heavily in slum improvements, waste recycling, public transport and pedestrian walkways to encourage people to walk and cycle more.

“Despite a five-fold population increase in the past 50 years, air pollution levels are comparatively lower than in many other rapidly growing cities and life expectancy is two years longer than the national average,” the WHO said.

That’s a good start, but a lot more needs to be done.

Global Post We all know that pollution is bad for our health.

Just how bad was laid out by the World Health Organization this week in a bleak new report on environmentally related deaths.

New analysis of data from 2012 found that a staggering 12.6 million people died that year from living and working in toxic environments.

That’s almost equivalent to the combined populations of New York City and Los Angeles, and represents nearly a quarter of the 55.6 million deaths recorded that year.

That’s scary, but it gets worse.

World Health Organization

The number of deaths due to noncommunicable diseases, such as stroke, heart disease, cancer and respiratory illness, made up 8.2 million or nearly two-thirds of the deaths resulting from unhealthy environments. The WHO says these deaths were mostly caused by air pollution.

These are preventable deaths, the WHO reminds us.

“A healthy environment underpins a healthy population,” WHO Director General Margaret Chan said in a statement. “If countries do not take actions to make environments where people live and work healthy, millions will continue to become ill and die too young.”

Low- and middle-income countries in Southeast Asia and the Western Pacific Region, where rapid economic growth has been blamed for soaring levels of air, water and soil contamination, were the worst affected by environmental-related deaths. Those regions had an estimated death toll of 7.3 million, mostly as a result of indoor and outdoor air pollution.

World Health Organization

The very young and the very old were the most vulnerable members of the global population: 1.7 million children under the age of 5 and 4.9 million adults aged between 50 and 75 years old lost their lives because of environmental factors.

Fortunately, there were some bright spots in the report.

The total number of deaths worldwide in 2012 fell by 1.4 million over the preceding decade as the number of deaths attributable to the environment decreased from 13.3 million to 12.6 million.

Deaths from infectious, parasitic and nutritional diseases, such as malaria and diarrhea, also fell due to more people having access to safe water and sanitation and because a smaller share of households used solid fuels, such as coal, for cooking. The category accounted for 20 percent of deaths attributable to the environment in 2012, compared with 31 percent a decade earlier.

(At the same time, though, deaths from noncommunicable diseases trended upwards to 22 percent of environmental-related deaths in 2012 from 17 percent in 2002.)

Another bit of good news was the action being taken by many cities around the world to clean up the environment.

The WHO highlighted the example of the Brazilian city of Curitiba, where authorities are investing heavily in slum improvements, waste recycling, public transport and pedestrian walkways to encourage people to walk and cycle more.

“Despite a five-fold population increase in the past 50 years, air pollution levels are comparatively lower than in many other rapidly growing cities and life expectancy is two years longer than the national average,” the WHO said.

That’s a good start, but a lot more needs to be done.

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Published on March 20, 2016 10:00

Fox News “brainwashed” so many dads: “People are being bamboozled on a massive scale”

Filmmaker Jen Senko noticed a disturbing phenomenon. Her father, Frank, was a goofy, fun, non-political dad who treated people with respect when she was a child. However, when she was older, she noticed her father would rant about “Feminazis,” listen to Rush Limbaugh and watch Fox News. He became the family pest, forcing one-sided discussions of conservative politics and becoming enraged and unreachable after watching Fox News. Senko investigates the reasons for this transformation in her stirring new documentary, “The Brainwashing of My Dad.” She interviews activist Noam Chomsky, author David Brock, who penned the article “Confessions of a Right-Wing Hit Man,” and Salon’s own Matthew Saccaro (“I Was a Teenage Fox News Robot”), among others to emphasize the invasiveness of Fox News. She even includes Skype interviews with ordinary people whose Fox News-loving family members shut them out of their lives. The documentary, co-narrated by Senko and co-producer Matthew Modine, traces the history of the insidious ways the conservatives gained control of the media and how the Republican Noise Machine sustained such wide influence and impact, even as Fox News propagates lies, by bleeding false stories. Senko spoke with Salon about “The Brainwashing of My Dad.” You noticed this transformation with your father. What tipped the scales that you decided to make a documentary feature about the topic of how folks are swayed from liberal to conservative thinking, by Fox News in particular, but also talk radio and other media? I felt like I could see the writing on the wall. I still don’t know why I could see it. I think, and this sounds weird, but when I was younger, I was really bullied, so that profoundly affected me in a lot of ways. When I first heard Rush Limbaugh, I thought he was a bully. My mother said that she was raised Christian and Limbaugh didn’t sound Christian or nice. I felt that when Hillary Clinton said there was this vast right-wing conspiracy, I felt: That’s it! That is happening! Even when Bill Clinton first became president, I felt the country was moving to the right. I felt the more I saw my dad change, and the more he became unrecognizable to us, the more alarmed I got. I talked to friends and a cousin who were very argumentative usually about the same topic and around the same time. It rang alarm bells to me. There was a very dangerous thing happening in our country. It was a phenomenon. So I wanted to make this film. I always felt since I was young that movies and media are incredibly influential. We don’t grasp how influential TV and media can be. Look at “War of the Worlds.” People believed it. Where did you research all the facts about Roger Ailes, or the various memos you cite? After John Kerry lost, I got into an argument with my dad. It prompted me to start a media group called PRISM, People’s Response to Inefficient Subservient Media. We watched the Sunday news shows, and read about politics, and wrote letters together. We started renting documentaries. I found all these facts that eventually I sewed together from those sources. I learned about the Powell Memo from Frances Causey’s “Heist: Who Stole the American Dream” and the Federal Communication Act from Sue Wilson’s “Broadcast Blues.” How did you find the folks who recounted stories of their own experiences with friends and family members on Skype in the film? The Skype folks were from word of mouth. We had 947 backers from our Kickstarter campaign. I mentioned that I was looking for stories similar to mine. People were writing to me, so I tried the Skyping them in the film and it worked. I liked the patchwork quality of those scenes; there was a different texture for those stories. It was also very emotional for people to be seen talking about folks they love being like pod people.  Can you talk about how you assembled the photos, and clips, as well as animation by Bill Plympton to tell this story? I hired an archivist to do photo research. My editor, Kala Mandrake, was wonderful because she would suggest things and find things on her own. She found some of the Fox News clips. She wasn’t political at first but she got into it and became political. Bill’s animation came near the end. Adam Rackoff [Matthew Modine’s producing partner] came in and he knew Bill, and Adam suggested we ask Bill to do some animation. He asked for a storyboard and then worked with me to get the appropriate visuals. What do you think is the greatest harm being done by Fox News and talk radio? I think that the greatest danger is that people are unwittingly voting against their own interests and democracy is being compromised. People are being bamboozled on a massive scale. They wonder why they are so unhappy. They blame Obama for everything and they don’t realize that the whole theory of “trickle down economics” have been fed to them through the media. It permeates everywhere. It’s not just Republicans. It becomes part of the language. The most dangerous part is that you have a country of half-brainwashed people. When I first used the term “brainwash,” it was done tongue-in-cheek; I wanted to evoke Red Scare films of the 1950s. But by the end of the film, and after interviewing neuroscientists, I believe people were or are being brainwashed. It’s just a different type of brainwashing—not coercive, but more subtle. It’s an insidious poison that’s seeping in through radios and TV sets, and it’s poisoning families. You have people fighting with their families. They are not blaming those who are at fault, but blaming each other. In addition to stories of friends who don’t speak to family members, I often hear stories of “defriendings” on Facebook because people post different political viewpoints. How do you think your film could help people with different opinions bridge the gap? One of the biggest questions we get is: “How do I talk to my mom or dad, or whoever?” We refer them to our website, which is like a library, a repository, or a community center where they get books like the one by George Lakoff, “Don’t Think of an Elephant,” or organizations like HearYourselfThink.org. They talk about how to break down the person you’re talking to: “Deprogramming the Amygdala.” They talk about how Fox activates the Amygdala part of the brain by inducing fear and emotion. Rational thought is turned off. You accept anything you hear. You react in a “Fight or Flight” way. They work with that person and try to calm them down. I’m hoping that my film can reach millions of people and that conversations will start and people will find the resources and build organizations like HearYourselfThink. Your film traces how the civil rights and women’s movements helped create a liberal America, but that this shifted with Nixon and later Reagan. Do you think that there could be a, dare I say “fair and balanced,” way for liberals and conservatives to coexist in a way that wasn’t so extreme, or that actually benefited the culture wars? I no longer consider the word “conservative.” We’re being polite. It’s radical. It’s pretty far right. When we educate people about the tricks the far right media uses—and hopefully they will see how they are bamboozled—there will be a call for more objectivity. I have a fantasy about a law where you couldn’t put the word “News” in your title like “Fox News” if it was over 60 percent opinion. Media is owned by six different corporations, so it’s not liberal. I hope that we can mobilize like Grover Norquist did. I think we could have a shot to create a media that would be more objective. First we have to educate people about what this far right media does and how you do it. You observe that “resentment and insecurity, and the injured pride of aging white men” is what accounts for the rise of conservatism among men like your father. Do you think you could have stopped him from embracing a conservative ideology? My dad wouldn’t have changed if he hadn’t started with talk radio. I don’t think he would have embraced conservatism if he didn’t have a long commute to work where he listened to talk radio. If they taught people in school how you can be manipulated by the media, maybe that could have been prevented? Filmmaker Jen Senko noticed a disturbing phenomenon. Her father, Frank, was a goofy, fun, non-political dad who treated people with respect when she was a child. However, when she was older, she noticed her father would rant about “Feminazis,” listen to Rush Limbaugh and watch Fox News. He became the family pest, forcing one-sided discussions of conservative politics and becoming enraged and unreachable after watching Fox News. Senko investigates the reasons for this transformation in her stirring new documentary, “The Brainwashing of My Dad.” She interviews activist Noam Chomsky, author David Brock, who penned the article “Confessions of a Right-Wing Hit Man,” and Salon’s own Matthew Saccaro (“I Was a Teenage Fox News Robot”), among others to emphasize the invasiveness of Fox News. She even includes Skype interviews with ordinary people whose Fox News-loving family members shut them out of their lives. The documentary, co-narrated by Senko and co-producer Matthew Modine, traces the history of the insidious ways the conservatives gained control of the media and how the Republican Noise Machine sustained such wide influence and impact, even as Fox News propagates lies, by bleeding false stories. Senko spoke with Salon about “The Brainwashing of My Dad.” You noticed this transformation with your father. What tipped the scales that you decided to make a documentary feature about the topic of how folks are swayed from liberal to conservative thinking, by Fox News in particular, but also talk radio and other media? I felt like I could see the writing on the wall. I still don’t know why I could see it. I think, and this sounds weird, but when I was younger, I was really bullied, so that profoundly affected me in a lot of ways. When I first heard Rush Limbaugh, I thought he was a bully. My mother said that she was raised Christian and Limbaugh didn’t sound Christian or nice. I felt that when Hillary Clinton said there was this vast right-wing conspiracy, I felt: That’s it! That is happening! Even when Bill Clinton first became president, I felt the country was moving to the right. I felt the more I saw my dad change, and the more he became unrecognizable to us, the more alarmed I got. I talked to friends and a cousin who were very argumentative usually about the same topic and around the same time. It rang alarm bells to me. There was a very dangerous thing happening in our country. It was a phenomenon. So I wanted to make this film. I always felt since I was young that movies and media are incredibly influential. We don’t grasp how influential TV and media can be. Look at “War of the Worlds.” People believed it. Where did you research all the facts about Roger Ailes, or the various memos you cite? After John Kerry lost, I got into an argument with my dad. It prompted me to start a media group called PRISM, People’s Response to Inefficient Subservient Media. We watched the Sunday news shows, and read about politics, and wrote letters together. We started renting documentaries. I found all these facts that eventually I sewed together from those sources. I learned about the Powell Memo from Frances Causey’s “Heist: Who Stole the American Dream” and the Federal Communication Act from Sue Wilson’s “Broadcast Blues.” How did you find the folks who recounted stories of their own experiences with friends and family members on Skype in the film? The Skype folks were from word of mouth. We had 947 backers from our Kickstarter campaign. I mentioned that I was looking for stories similar to mine. People were writing to me, so I tried the Skyping them in the film and it worked. I liked the patchwork quality of those scenes; there was a different texture for those stories. It was also very emotional for people to be seen talking about folks they love being like pod people.  Can you talk about how you assembled the photos, and clips, as well as animation by Bill Plympton to tell this story? I hired an archivist to do photo research. My editor, Kala Mandrake, was wonderful because she would suggest things and find things on her own. She found some of the Fox News clips. She wasn’t political at first but she got into it and became political. Bill’s animation came near the end. Adam Rackoff [Matthew Modine’s producing partner] came in and he knew Bill, and Adam suggested we ask Bill to do some animation. He asked for a storyboard and then worked with me to get the appropriate visuals. What do you think is the greatest harm being done by Fox News and talk radio? I think that the greatest danger is that people are unwittingly voting against their own interests and democracy is being compromised. People are being bamboozled on a massive scale. They wonder why they are so unhappy. They blame Obama for everything and they don’t realize that the whole theory of “trickle down economics” have been fed to them through the media. It permeates everywhere. It’s not just Republicans. It becomes part of the language. The most dangerous part is that you have a country of half-brainwashed people. When I first used the term “brainwash,” it was done tongue-in-cheek; I wanted to evoke Red Scare films of the 1950s. But by the end of the film, and after interviewing neuroscientists, I believe people were or are being brainwashed. It’s just a different type of brainwashing—not coercive, but more subtle. It’s an insidious poison that’s seeping in through radios and TV sets, and it’s poisoning families. You have people fighting with their families. They are not blaming those who are at fault, but blaming each other. In addition to stories of friends who don’t speak to family members, I often hear stories of “defriendings” on Facebook because people post different political viewpoints. How do you think your film could help people with different opinions bridge the gap? One of the biggest questions we get is: “How do I talk to my mom or dad, or whoever?” We refer them to our website, which is like a library, a repository, or a community center where they get books like the one by George Lakoff, “Don’t Think of an Elephant,” or organizations like HearYourselfThink.org. They talk about how to break down the person you’re talking to: “Deprogramming the Amygdala.” They talk about how Fox activates the Amygdala part of the brain by inducing fear and emotion. Rational thought is turned off. You accept anything you hear. You react in a “Fight or Flight” way. They work with that person and try to calm them down. I’m hoping that my film can reach millions of people and that conversations will start and people will find the resources and build organizations like HearYourselfThink. Your film traces how the civil rights and women’s movements helped create a liberal America, but that this shifted with Nixon and later Reagan. Do you think that there could be a, dare I say “fair and balanced,” way for liberals and conservatives to coexist in a way that wasn’t so extreme, or that actually benefited the culture wars? I no longer consider the word “conservative.” We’re being polite. It’s radical. It’s pretty far right. When we educate people about the tricks the far right media uses—and hopefully they will see how they are bamboozled—there will be a call for more objectivity. I have a fantasy about a law where you couldn’t put the word “News” in your title like “Fox News” if it was over 60 percent opinion. Media is owned by six different corporations, so it’s not liberal. I hope that we can mobilize like Grover Norquist did. I think we could have a shot to create a media that would be more objective. First we have to educate people about what this far right media does and how you do it. You observe that “resentment and insecurity, and the injured pride of aging white men” is what accounts for the rise of conservatism among men like your father. Do you think you could have stopped him from embracing a conservative ideology? My dad wouldn’t have changed if he hadn’t started with talk radio. I don’t think he would have embraced conservatism if he didn’t have a long commute to work where he listened to talk radio. If they taught people in school how you can be manipulated by the media, maybe that could have been prevented? 

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Published on March 20, 2016 09:00

Bernie never stood a chance: The game was always rigged for a Hillary win

AlterNet Did you know that if a given political party already has an incumbent in a particular political post, it’s standard practice in the United States for a political party to prohibit its voter-list to be purchased by anyone who’s not an incumbent office-holder in that party — including by someone who wishes to challenge or contest within that party the incumbent, in a primary election? Only incumbents have access to that crucial list — crucial for any candidate in a primary election (unless there is no incumbent who is of that party). Here’s an example: Debbie Wasserman-Schultz, a long-time unquestioningly loyal operative of Hillary Clinton, was selected by the Democratic President Barack Obama (though she had condemned Obama while he was running against Clinton in 2008) to run the Democratic National Committee, so that Obama’s Administration will be continued with little change by his (chosen) successor (just a change of the President’s name, and only a bit more of a neo-conservative on her foreign policies than he was). However, Ms. DWS has a very low approval-rating from her constituents, and a Bernie Sanders supporter wants to contest against her in a Democratic primary. But, he says: Last week, I called the Florida Democratic Party to request access to the voter file database and software known as VAN that is routinely used by Democratic candidates across the country. I was told that our campaign would be denied access to this database because I am running against an incumbent Democrat, Debbie Wasserman Schultz. I was also told that any Democratic candidate running against an incumbent Democrat would be denied access. A reader-comment there was: I’ve learned that this is standard practice in most states, to block challengers from the same party going up against incumbents. I think it’s bullshit. I’ve asked people to give me some good reasoning why this is a standard practice, and *crickets*. In other words: Politicians campaign hypocritically saying they favor ’term-limits’ but universally support the real  reason (which isn’t the lack of term-limits; it’s the lack of fairness, such as this) why even the most vile incumbents get re-‘elected’ time and again: this thuggish custom of the Democratic and Republican political Parties, which blocks challengers from having access to the most crucial tool for becoming a Party’s nominee: the list of that Party’s registerd voters. Only the existing incumbent can buy that list. (Of course, if the ‘opposite’ Party has the incumbent in the contest, then the DNC/RNC will sell the person that list in order to yank the seat to their Party. The most-rigged part of American ‘democracy’ might be primary elections, not  general elections — which is what politicians most discuss in public as being rigged, such as especially both of GWB’s Presidential ‘wins’, which were exceptionally scandalous.) Among the many ways in which the United States is not a democracy, the operation of primaries by Parties which actually represent their incumbents and not at all the public, is an important one. And the incumbent politicians never publicize it. Only a few aspiring challengers ‘complain’ about it — and the public never likes a 'complainer.' What this means is that, if an incumbent serves well the donors who financed his/her campaign, then that person will almost certainly not be effectively challenged in a primary by someone else from that party, because that prospective challenger won’t even have access to the list of registered voted in that party. The only significant chance that the incumbent will be replaced (unless he/she quits and, say, becomes a lobbyist for those donors) is if the ‘opposite’ party can find a suitable person to run against him/her (by serving donors to the ‘other’ party — which donors might also be donors to both parties). In other words: the political Establishment consists of the aristocracy and its servants — within both parties. Both parties serve the aristocrats, sometimes even the same aristocrats, but, in other matters, serve the agenda that’s shared among the richest people in both parties. The only scientific study that has been done of the net results from such a system was described and linked-to here. It found that in the U.S., the aristocracy rule; the public do not. And here is a recent former U.S. President saying that his own experience and analysis of the U.S. political system is in accord with those findings. AlterNet Did you know that if a given political party already has an incumbent in a particular political post, it’s standard practice in the United States for a political party to prohibit its voter-list to be purchased by anyone who’s not an incumbent office-holder in that party — including by someone who wishes to challenge or contest within that party the incumbent, in a primary election? Only incumbents have access to that crucial list — crucial for any candidate in a primary election (unless there is no incumbent who is of that party). Here’s an example: Debbie Wasserman-Schultz, a long-time unquestioningly loyal operative of Hillary Clinton, was selected by the Democratic President Barack Obama (though she had condemned Obama while he was running against Clinton in 2008) to run the Democratic National Committee, so that Obama’s Administration will be continued with little change by his (chosen) successor (just a change of the President’s name, and only a bit more of a neo-conservative on her foreign policies than he was). However, Ms. DWS has a very low approval-rating from her constituents, and a Bernie Sanders supporter wants to contest against her in a Democratic primary. But, he says: Last week, I called the Florida Democratic Party to request access to the voter file database and software known as VAN that is routinely used by Democratic candidates across the country. I was told that our campaign would be denied access to this database because I am running against an incumbent Democrat, Debbie Wasserman Schultz. I was also told that any Democratic candidate running against an incumbent Democrat would be denied access. A reader-comment there was: I’ve learned that this is standard practice in most states, to block challengers from the same party going up against incumbents. I think it’s bullshit. I’ve asked people to give me some good reasoning why this is a standard practice, and *crickets*. In other words: Politicians campaign hypocritically saying they favor ’term-limits’ but universally support the real  reason (which isn’t the lack of term-limits; it’s the lack of fairness, such as this) why even the most vile incumbents get re-‘elected’ time and again: this thuggish custom of the Democratic and Republican political Parties, which blocks challengers from having access to the most crucial tool for becoming a Party’s nominee: the list of that Party’s registerd voters. Only the existing incumbent can buy that list. (Of course, if the ‘opposite’ Party has the incumbent in the contest, then the DNC/RNC will sell the person that list in order to yank the seat to their Party. The most-rigged part of American ‘democracy’ might be primary elections, not  general elections — which is what politicians most discuss in public as being rigged, such as especially both of GWB’s Presidential ‘wins’, which were exceptionally scandalous.) Among the many ways in which the United States is not a democracy, the operation of primaries by Parties which actually represent their incumbents and not at all the public, is an important one. And the incumbent politicians never publicize it. Only a few aspiring challengers ‘complain’ about it — and the public never likes a 'complainer.' What this means is that, if an incumbent serves well the donors who financed his/her campaign, then that person will almost certainly not be effectively challenged in a primary by someone else from that party, because that prospective challenger won’t even have access to the list of registered voted in that party. The only significant chance that the incumbent will be replaced (unless he/she quits and, say, becomes a lobbyist for those donors) is if the ‘opposite’ party can find a suitable person to run against him/her (by serving donors to the ‘other’ party — which donors might also be donors to both parties). In other words: the political Establishment consists of the aristocracy and its servants — within both parties. Both parties serve the aristocrats, sometimes even the same aristocrats, but, in other matters, serve the agenda that’s shared among the richest people in both parties. The only scientific study that has been done of the net results from such a system was described and linked-to here. It found that in the U.S., the aristocracy rule; the public do not. And here is a recent former U.S. President saying that his own experience and analysis of the U.S. political system is in accord with those findings. AlterNet Did you know that if a given political party already has an incumbent in a particular political post, it’s standard practice in the United States for a political party to prohibit its voter-list to be purchased by anyone who’s not an incumbent office-holder in that party — including by someone who wishes to challenge or contest within that party the incumbent, in a primary election? Only incumbents have access to that crucial list — crucial for any candidate in a primary election (unless there is no incumbent who is of that party). Here’s an example: Debbie Wasserman-Schultz, a long-time unquestioningly loyal operative of Hillary Clinton, was selected by the Democratic President Barack Obama (though she had condemned Obama while he was running against Clinton in 2008) to run the Democratic National Committee, so that Obama’s Administration will be continued with little change by his (chosen) successor (just a change of the President’s name, and only a bit more of a neo-conservative on her foreign policies than he was). However, Ms. DWS has a very low approval-rating from her constituents, and a Bernie Sanders supporter wants to contest against her in a Democratic primary. But, he says: Last week, I called the Florida Democratic Party to request access to the voter file database and software known as VAN that is routinely used by Democratic candidates across the country. I was told that our campaign would be denied access to this database because I am running against an incumbent Democrat, Debbie Wasserman Schultz. I was also told that any Democratic candidate running against an incumbent Democrat would be denied access. A reader-comment there was: I’ve learned that this is standard practice in most states, to block challengers from the same party going up against incumbents. I think it’s bullshit. I’ve asked people to give me some good reasoning why this is a standard practice, and *crickets*. In other words: Politicians campaign hypocritically saying they favor ’term-limits’ but universally support the real  reason (which isn’t the lack of term-limits; it’s the lack of fairness, such as this) why even the most vile incumbents get re-‘elected’ time and again: this thuggish custom of the Democratic and Republican political Parties, which blocks challengers from having access to the most crucial tool for becoming a Party’s nominee: the list of that Party’s registerd voters. Only the existing incumbent can buy that list. (Of course, if the ‘opposite’ Party has the incumbent in the contest, then the DNC/RNC will sell the person that list in order to yank the seat to their Party. The most-rigged part of American ‘democracy’ might be primary elections, not  general elections — which is what politicians most discuss in public as being rigged, such as especially both of GWB’s Presidential ‘wins’, which were exceptionally scandalous.) Among the many ways in which the United States is not a democracy, the operation of primaries by Parties which actually represent their incumbents and not at all the public, is an important one. And the incumbent politicians never publicize it. Only a few aspiring challengers ‘complain’ about it — and the public never likes a 'complainer.' What this means is that, if an incumbent serves well the donors who financed his/her campaign, then that person will almost certainly not be effectively challenged in a primary by someone else from that party, because that prospective challenger won’t even have access to the list of registered voted in that party. The only significant chance that the incumbent will be replaced (unless he/she quits and, say, becomes a lobbyist for those donors) is if the ‘opposite’ party can find a suitable person to run against him/her (by serving donors to the ‘other’ party — which donors might also be donors to both parties). In other words: the political Establishment consists of the aristocracy and its servants — within both parties. Both parties serve the aristocrats, sometimes even the same aristocrats, but, in other matters, serve the agenda that’s shared among the richest people in both parties. The only scientific study that has been done of the net results from such a system was described and linked-to here. It found that in the U.S., the aristocracy rule; the public do not. And here is a recent former U.S. President saying that his own experience and analysis of the U.S. political system is in accord with those findings. AlterNet Did you know that if a given political party already has an incumbent in a particular political post, it’s standard practice in the United States for a political party to prohibit its voter-list to be purchased by anyone who’s not an incumbent office-holder in that party — including by someone who wishes to challenge or contest within that party the incumbent, in a primary election? Only incumbents have access to that crucial list — crucial for any candidate in a primary election (unless there is no incumbent who is of that party). Here’s an example: Debbie Wasserman-Schultz, a long-time unquestioningly loyal operative of Hillary Clinton, was selected by the Democratic President Barack Obama (though she had condemned Obama while he was running against Clinton in 2008) to run the Democratic National Committee, so that Obama’s Administration will be continued with little change by his (chosen) successor (just a change of the President’s name, and only a bit more of a neo-conservative on her foreign policies than he was). However, Ms. DWS has a very low approval-rating from her constituents, and a Bernie Sanders supporter wants to contest against her in a Democratic primary. But, he says: Last week, I called the Florida Democratic Party to request access to the voter file database and software known as VAN that is routinely used by Democratic candidates across the country. I was told that our campaign would be denied access to this database because I am running against an incumbent Democrat, Debbie Wasserman Schultz. I was also told that any Democratic candidate running against an incumbent Democrat would be denied access. A reader-comment there was: I’ve learned that this is standard practice in most states, to block challengers from the same party going up against incumbents. I think it’s bullshit. I’ve asked people to give me some good reasoning why this is a standard practice, and *crickets*. In other words: Politicians campaign hypocritically saying they favor ’term-limits’ but universally support the real  reason (which isn’t the lack of term-limits; it’s the lack of fairness, such as this) why even the most vile incumbents get re-‘elected’ time and again: this thuggish custom of the Democratic and Republican political Parties, which blocks challengers from having access to the most crucial tool for becoming a Party’s nominee: the list of that Party’s registerd voters. Only the existing incumbent can buy that list. (Of course, if the ‘opposite’ Party has the incumbent in the contest, then the DNC/RNC will sell the person that list in order to yank the seat to their Party. The most-rigged part of American ‘democracy’ might be primary elections, not  general elections — which is what politicians most discuss in public as being rigged, such as especially both of GWB’s Presidential ‘wins’, which were exceptionally scandalous.) Among the many ways in which the United States is not a democracy, the operation of primaries by Parties which actually represent their incumbents and not at all the public, is an important one. And the incumbent politicians never publicize it. Only a few aspiring challengers ‘complain’ about it — and the public never likes a 'complainer.' What this means is that, if an incumbent serves well the donors who financed his/her campaign, then that person will almost certainly not be effectively challenged in a primary by someone else from that party, because that prospective challenger won’t even have access to the list of registered voted in that party. The only significant chance that the incumbent will be replaced (unless he/she quits and, say, becomes a lobbyist for those donors) is if the ‘opposite’ party can find a suitable person to run against him/her (by serving donors to the ‘other’ party — which donors might also be donors to both parties). In other words: the political Establishment consists of the aristocracy and its servants — within both parties. Both parties serve the aristocrats, sometimes even the same aristocrats, but, in other matters, serve the agenda that’s shared among the richest people in both parties. The only scientific study that has been done of the net results from such a system was described and linked-to here. It found that in the U.S., the aristocracy rule; the public do not. And here is a recent former U.S. President saying that his own experience and analysis of the U.S. political system is in accord with those findings.

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Published on March 20, 2016 08:00